Technology in all phases of video production is advancing at an increasingly rapid pace. While there are many new tools available and, in turn, new approaches to production, the value of a good story and what that entails has largely remained the same.However, today’s audiences prefer to receive messages differently. It’s now about delivering the story in a nice modern package that audiences will actually enjoy unwrapping.
The destination’s the same, but the roads may need paving.
Aristotle’s Poetics is still as valuable and important as it was thousands of years ago. Why? Because the stated objectives of a storyteller: to grab ahold of people’s attention; keep it tightly grasped for as long as needed; and ultimately release the tension, flowing into a suspenseful and satisfying conclusion, are essentially the same as they’ve always been. Aristotle knew that content should have an ethical, emotional, or logical appeal to the audience, a theory that still holds up.
However, one of the most widely used phrases in the world of video production today, and in all of internet marketing for that matter, is target audience. If aiming at a certain group is a universally accepted approach in modern storytelling, and the audience has changed so drastically throughout the internet age, then the content itself has to be adjusted to have any success at impacting them. You can hit your target, you just need to embrace the changes and get a few new darts to get there.
Audiences are losing their patience…constantly.
One of the sweeping changes affecting storytelling in the digital age is the increasing impatience of the audience. Back in the day, whether it was a village elder or a newspaper reporter, storytellers always had time to gather information and analyze it before sharing their story. Now, people expect all desired information immediately. This can be seen as a limitation, or can be embraced and used as an advantage.
One way to do this is to change the way you unravel the story arc in your video production. The arc is a part of storytelling that hasn’t changed much; peaks and valleys in intensity are what gives any story pace and rhythm. Yes, audiences want intense, meaningful information in a flash nowadays, but that doesn’t mean you can’t savor the valleys, or the low points in intensity. It’s here that the storyteller still has the power to give perspective and insight.
There’s a difference between what people like and what they share.
Studies have also shown that there’s a clear distinction between what makes content interesting and what makes it shareable to today’s audiences. Indispensable information and intense emotions are what compel people to share content. If someone rants, mildly, about something, it’s a lot less likely to be shared than if that person lost their temper and reached a higher emotional peak on the subject. However, amusing and arousing still works better than angry and arousing.
Human nature is relatively unchanging, with people’s desires and motivations remaining largely the same as always. However, as things change, new opportunities to apply those motivations and satisfy those desires present themselves. Aristotle knew that self purpose and social connectivity are basic natural desires. Who knows what he would’ve thought about how people use, or abuse, all the new communication channels available. However, he’d be hard-pressed to argue that these new forms of storytelling don’t cater to those specific human desires more naturally than anything ever before. So, take advantage!
KVibe Productions is a full-service video production company. Whether it’s a product video production, a corporate video, or a commercial production, KVibe offers the total package of multimedia services from development through distribution.
You know when you and your buddy are watching a movie preview and he says, “I thought of that idea for a movie a long time ago.” Well, we’re not saying your friend is a liar, but the problem is you can’t own an idea for a story. The only way to make it truly yours is to work it all the way through, start to finish, and the best way to do this is by creating a story treatment. Treatments are not only helpful to you and the telling of your story though, they also function as a business card for your idea. Agents and producers don’t have time to read your 120-page screenplay, but they may have enough time to check out your 7-page treatment for it.
First of all, most producers won’t even consider a project without first reading a solid treatment and getting an idea of how the story will play out. So, like carrying an umbrella on a day with a slight chance of showers, it’s better to have one and not need it than to need one and not have it. No one wants to take a chance of being surprised by the story you turn in for the first draft. They want to understand, exactly, what the story being told is and how it will unravel. Then, and only then, will they allow you to begin work on the script/
Now, any writer knows that pretty much anyone can write a decent first act. The set up is always the easy part, but then comes the never ending second act. This is where many storytellers lose the audience, which is a testament to the treatment’s indispensability. If you take the time to work out the kinks of the story, filling in any gaping plot holes along the way, you’ll save yourself tons of time trying to address those issues later on in the scriptwriting process, or even worse, during production.
Any successful screenwriter knows the value in the simple things like structure and discipline. They know that, sometimes, you can forge a bad script out of a good treatment, but never a good script out of a bad treatment. It provides a framework for the rest of the story and, also, works as the testing ground for its overall effectiveness. If you’re story doesn’t grab ahold of people in its treatment form, there’s no reason to assume the full script will be any more immersive.
Treatments are good for more than fleshing out the main plot points of the story and establishing the emotional arc of your characters. They can be helpful at other times during the writing phase, such as if you hit a snag in the middle of act two, or just want a more concise version of your story to pitch to producers. The bottom line is, in this world, it’s not just about telling stories, but selling them, and having a treatment on hand is your best pitch.
KVibe Productions is a full-service video production company. Whether it’s a product video production, a corporate video, a feature film, or a commercial production, KVibe offers the total package of multimedia services from development through distribution.
Today HD Cameras are being produced like food. However, a lot of new cameras that have been coming out are notimpressive such as the Black Magic Cinema 2.5k Camera. We at Kvibe do not like the Black Magic Cinema Camera due to it’s videoish look, however, we are impressed with KineRAW S35 camera’s filmic look.
Stay tuned for more updates about this camera.
Kvibe Productions is delivering a written out documentation of the Red workflow with Redcine-X Pro and Avid Media Composer 6. We think this is one of the best workflows for Red as of now since we think AMA is not ready for Red footage yet.
Please leave us comments or questions of our workflow. We are here to help!
Redcine-X Pro and Avid MC6 workflow
1) Create New Project in Avid with appropriate name
2) Create Bins called DNxHD36, DNxHD175, Pull Down List 36
3) Go to Redcine-X and import all .r3d files by selecting folder
4) Select all clips and ensure it is “Center Crop” (tool side and scroll all the way down)
5) Export via DNxHD36 to Avid Project > Project name > Converted DNxHD36
6) After exported, move MXF files to the Avid Mediafiles > MXF > 1 (or any number you choose)
7) Go to Avid and import the AAF files into the DNxHD36 BIN
8) Then import additional Metadata by selecting all clips > File > Import > ALE file
9) Start Editing
10) After locked edit, we need to re-link to desired final quality. Within Avid, we will relink to DNxHD175 or something better. Create a bin called “Decompose”
11) Duplicate the edited sequence and move it into the Decompose Bin
12) Right click on sequence then click on Decompose
13) Create new sequence
14) Select all new clips and drag it into the timeline of the new sequence
15) Rename Sequence to “Pulldown List 175” (or whichever final format you are trying to go online)
16) Select the new sequence > tools > Output EDL
15) Go to the EDL manager window and ensure it is File _16
16) Click on “Get Sequence”
17) Save As to the Avid Project
18) Color grade footage in Red Cine-X
19) Export to DNxHD 175 or another format
20)Move MXF files to Avid Mediafiles
21) Go to Avid, import new MXF files from “MEDIA TOOLS” into the DNxHD175 Bin
22) Highlight all and import the ALE file
23) Go to Original Rough Sequence and change clip color to source
24) Highlight all DNxHD 175 clips to another color by going to Bin > Clip Color
25) Go to original sequence > right click > Relink
26) New relink sequence should appear as with new color indicating it is the new clips
27) Render out final output.
Be sure to write back to us and let us know your thoughts.