AAF-KC brings advertising all-star Luke Sullivan to KC to drop some knowledge! 32 years at elite agencies like Fallon and The Martin Agency. One best-selling advertising book that is now in its 4th edition. Countless speaking engagements in Auckland, Copenhagen, Helsinki, Stockholm, Berlin and all over the U.S. and Canada. And it’s all led up to this.
OK, so maybe inspiring Kansas City’s motley collection of ad pros isn’t Luke Sullivan’s crowning achievement. But regardless, Leveraging Cultural Tensions to Improve Creativity will leave you inspired, enthused and ready to create work that’s totally bril.
Production courtesy of BicMedia. Shot and edited by Hillary Arson.
The curtain is lifted on the industrious workings of the well-oiled BicMedia crew’s production of Jose Ole, Ole O’Clock national commercial spot. Directed by Chicago talent, Al Wyatt, and DP’d by seasoned pros Hanuman Brown-Eagle and David Morris, utilizing the Red Epic. Behind the scenes footage shot and edited by Hillary Larson.
Construction sounds interrupt our work but pleasantly remind us we’re growing. It’s time to clean out the broom closet, because it’s soon to be the office for our newest member of our team: Nicole Melton. The chandelier has been ordered & a fresh color purple decided for the walls.
Sharing a similar passion as the Bics, Melton most enjoys surrounding herself with creative folk & stewarding a project from a mere idea to
a polished presentation.
“With continued growth, it became clear that we needed an Executive Producer
to oversee each job that comes through our shop. Nicole’s vast experience in
managing all details of production makes her a perfect fit for us. Julian and I can
continue to focus on delivering highly polished creative and Nicole will ensure
that all of the pieces come together in order to deliver on the vision and promises
we’ve made to our clients.” said Austin Bickford, operating partner.
Before joining the BicMedia team, Melton was an Executive Producer at T2
Studios and Propaganda3. Melton has produced everything from an Emmy-
award winning documentary to an iPhone app.
“I am proud to be apart of the BicMedia family. I have always admired the work
coming out of this facility as well as respected Austin and Julian for building such
a great company. I look forward to doing some really fantastic things here.” said
Add visual interest, demonstrate a process rather than simply describing it, and provide real-world examples of your content. Viewers will likely recall a PowerPoint presentation embedded with entertaining and informative video, rather than bullet point after bullet point.
need some proof? Consider these statistics from the world’s #1 video-sharing website, YouTube:
User Generated Content is exploding. More than 72 hours of video are uploaded every minute. User generated content outnumbers official/formal content by 3:1.
Video is compelling – we want it when we want it. In 2011, there were more than 1 trillion views of video (almost 140 views for every person on the planet). More than 20% of views came from mobile devices.
Social feedback is the rule. More than 50% of videos are rated/tagged/commented on through social media; 100 million people take social action (like, share, comment) on videos every week.
Business leaders have certainly recognized the tremendous value of video, and are leveraging it across many internal business processes today to improve employee communication, engagement, motivation and development. For example, corporate announcements or executive messages are increasingly provided through executive videos. Recruiters are reviewing video resumes as well as posting company brand messages via video. Web meetings now incorporate video conferencing, and learning initiatives increasingly make use of integrated video.
Is your video marketing STICKY? That is, does it bring upon SUCCESs?
check to make sure the idea is: Simple, Unexpected, Concrete, Credible, Emotional and tells Stories.
1) Simple, as in Southwest Airlines’ mission to be known as the no-frill, low-fare airline.
2) Unexpected: what’s the “wow” factor? Is it “old news” or eye-opening?
3) Concrete. Can your audience define & grasp the idea?
4) Credible, which is the secret behind “where’s the beef.” Simple observation showed that Wendy’s burger was big.
5) Emotional. Are you connecting with the audience or simply dumping information?
6) Stories: Numbers tell, stories sell.
BicMedia is a boutique production studio looking for a writer/producer/director to manage and deliver highly polished videos that meet the requirements of the client and support the vision of the studio. As a producer, you will be responsible for developing proposals, creating budgets, scheduling, hiring crew, and delivering killer creative. As a creative, you will assist in concept development, writing, and directing video projects.
We work with advertising agencies to execute their concepts as well as directly with companies to create original concepts and develop those ideas throughout the production process. Our original music capabilities are a huge differentiating factor that has helped us gain national recognition.
The writer/producer/director’s role will be to own the project from conception to completion, executing with a high level of sophistication. Our focus is to continue growing our capabilities in order to secure work from more regional and national brands.
You need to be a detail-oriented creative with a good nature and a minimum of 5+ years of hands on video production experience, working with advertising agencies and direct clients is a plus. We have a casual but focused environment that allows you independence and flexibility to do your work. Our canine-friendly workspace with ping- pong, foosball, and pool tables and “First Friday” gatherings provides a physical surrounding that is hard to beat. By the way, this is a full-time position with a competitive salary plus benefits.
So, if you’re interested in having creative freedom, working in a relaxed and fun environment, and helping to develop a world-class production company, send us your resume and samples of your work!
Skills & Responsibilities:
• Manage Projects: Proposals, Budgets, Scheduling, and Hiring Crew • Creative: Concept Development, Copy Writing, and Directing • Working with Clients (Direct, Corporate & Agency) • Work Well with Others / People Skills
• Relationships with Directors and Crew
• Microsoft Office • Showbiz Budgeting
Austin will be heading up special events for KC’s Art+Copy Club. This should be a perfect fit for him considering he loves events & considers himself to be pretty special.
After spending almost 1 year working with our production crews, I’ve come to understand that a good grip doesn’t mean a handshake & craft services entails food not ribbon & glue. So: I’ve made a handy glossary for those of you that may have the same questions I once did. We all start somewhere….but goes to show you why it makes sense to hire a professional. You can’t bull shit your way through professional video production.
“Point of view” shot. The camera takes the point of view of a character in the scene, it sees what the character sees. Usually follows a shot of the character.
An objective shot. The camera sees the scene from an angle not seen, by a character in the scene.
L.S. or W.S.
Long shot or wide angle shot. Refers to the angle and distance of lens. usually includes full figures and vistas or entire rooms.
M.S. or MCU.
Camera sees actor from waist
Close up. Often a head and shoulders shot of a single person.
up. e.g. nostrils and one eye
Camera frames two characters in scene.
Also called Cover shot Usually a med. to wide angle shot of a scene that runs the duration of the action.
Often a wide shot of the outside of a location Tells the audience where they are.
All the set ups needed to edit the scene aside from the Master shot
Refers to the position of a camera and the lighting of a shot or shots. “New set
up” refers to the camera moving to a new position.
Often photographed by 2nd unit. A shot that shows details that are often missed by a master or coverage. i.e. a hand opening a purse and pulling out a gun.
Off screen. Also called O.C., off camera. A description of what is heard but not seen on the screen
Over the Shoulder shot. Usually a shot of a character in conversation with second person whose shoulder you shoot over.
A very high angle shot often accomplished with a helicopter or air
Usually a close
up of a character reacting silently to action they have just seen or dialogue they are listening to.
A shot that is 180 degrees opposite the preceding shot.
(also called Hollywood or knee shot). A shot framed to include figures from the knees on up.
A term used in editing concerning a piece of information not seen in the master or previous shot.
Editing term for successive shots that cut in on the same axis. Also successive cuts that disrupt the flow of time or space.
MATCH CUT, OR MATCH DISSOLVE
Cutting or dissolving from one similar composition to another. i.e. From a close shot of a wheel to a globe of the world shot so that they fill the same size and position in the frame.
HIGH HAT SHOT
A low angle shot positioned as if it were a hat’s height off the floor
Also called Tracking or trucking shot. Camera travels on dolly tracks
The camera swivels on the horizontal axis, often used to follow the action.
A very swift pan that blurs the scene in between the starting and ending point.
Any camera position that is mounted directly on a vehicle.
Any moving shot that follows an actor.
The camera travels up and down on a boom arm. Often combines with a dolly move.
The camera pivots up and down from it’s base, which does not move .
Refers to the movement of a zoom lens. Usually used in video.
Any shot where the camera specifically does not move.
A shot taken from a piece of equipment called a crane that has the ability to boom down and track in long distances with out using tracks.
Shot using the steadicarn, a camera that attaches to a hamess and can be operated by a single person in hand held situations, but the resulting footage will appear to be shot with the smoothness of a tracking shot.
Writing: original script or adaptation
Directing: casting, rehearsing, working with actors, pre-production meetings with DP to determine lighting design, scouting locations
Producing: casting, securing locations, props, costumes, permissions, rights, releases, organizing production, logistics, assembling production notebook
Shooting Script: create shot breakdown from script. aerial views, storyboards, estimate production time
DP: collaborate with Director to determine visual style and lighting design, scouting locations, equipment needs, supervising lighting & camera crew, light readings, safety
Camera Operation: light readings, focus, camera movement, camera loading, canning film, camera reports, safety
Gaffer: setting lights, electricals. safety
Editor: creatively assembling the shots to support the intended theme of director, edit “plot point” sound; cut changes to picture after first mix
Sound Design: conceive map of sound design elements in collaboration with director and editor
Sound Recording: location recording, submit for transfer on time, research music and EFX and submit for transfer
Sound Cutting: assemble and cut in audio tracks according to sound designers wishes’, make changes to tracks after first mix
Mix Prep: create, assemble, and cut in remaining ambient and EFX tracks; split and clean tracks’, create cue sheets for mix, consult with mixer