THE BUSINESS FILM HANDBOOK
                            by Warren Nelson and J-P Ouellette
                            @ 1998, 2001 the authors
You've got something you need to say and a large audience to say it to. It's more than a speech or a written report. You've decided that only a visual media can convey the message.

Business has been using visual media to convey important material to a large audience ever since visual media was invented. And every day, someone is inventing a new media.

But do you need:

      a television/cable advertising spot,
      an industrial documentary,
      a product promotion,
      a teaching video,
      a slide presentation,
      a visual montage to beef up a speech,
      a corporate announcement,
      or something like that?
Whatever you need it for, you know it needs to be three things
It has to be great
It has to be made soon
It has to be within your budget.
To reach a wide audience, even within your company, visual media presents spectacular advantages. And horrific impediments.

The purpose of this web page it to make the process of putting this media presentation together more effective, both in content and in production. This assumes that you have not done this before. Reviewing the basics is often necessary to start a new production.

Though you may be using video, or slides, or computer generated images, the process is still called "film-making" and the final product is technically a "film." While many of the mechanical and technical processes are different between the different mediums, the creative process is identical, regardless of the final format of the presentation.

The audience and the message to be communicated will determine which mechanical process, film, video or slides will be the most effective means to convey your message.

With these facts in mind we hope you find the material in this web page to be helpful as you plan your project.

STEP ONE

PLANNING

1. Purpose of the film

    Effective communication depends on clarity of purpose. A business film should be designed to express a single idea, to elicit a specific response from the audience. An audience can be depended upon to take home little more than a single idea. A cluttered film, a film with a nebulous purpose or ill--defined idea, will, at best, leave the audience confused, at worst, antagonistic.

    The purpose of the film can be as simple or as complex as it has to be. But, for maximum effectiveness, the clarity of that idea is paramount; the entire film is nothing more nor nothing less than the expression of that single idea. How that idea is expressed on film is part of STEP TWO.

2. Audience targets
    Who will see your film? To whom do you want to appeal?

    A film to train assembly-line workers may embody the same idea, i.e., quality control, as a film made for a womens co-operative; yet the training film would probably find very little acceptance among the co-operative.

    The target audience will have a determining influence on how your film must be structured. It will determine the script (vocabulary); the length of the film (time away from jobs, classroom hours) and such technical questions as the format of the final version (Will the videotape be transferred to film or vice versa. Will the videotape be broadcast or only be played back on consumer video equipment or will it be shown at a convention or meeting?). All of these things, of course, will have an effect on the budget.

3. Format
    At this point the question of medium should be decided.
     
      FILM........ If you are planning to sell a product to an audience with the film, you might consider using motion picture film as the source. If your film is going to appear on television or cable or in a large convention theater setting, motion picture film produces a quality and clarity of image impossible in videotape or digital recording. If your film will appear in between other products or between segments of a show, it must be able to compete in quality. This is why all good television commercials are filmed with motion picture film. Film is usually transferred to video for editing and distribution but always retains a better image quality than anything shot on videotape. Shooting on film is the most expensive means of recording images but shows the audience the importance of what you are saying over everyone who fails to shoot on film.

      VIDEOTAPE AND DIGITAL RECORDING........ Advances in videotape have improved the image and quality. If you are reaching your audience by a television screen or a small room projection system, videotape is an effective means. Though not the quality of film, a fine industrial quality can be attained by using one inch, Beta SP, or professional digital tape formats with professional Sony or Ikegami cameras. Videotape can be converted to film to allow projection for large audiences who are willing to accept the message over the quality of the project. Videotape shooting is less expensive than film and fully satisfactory when industrial quality is sufficient.  Below is a simple chart to show the various types of video and digital recording.  You want the best quality when you record your material because it will be reproduced and lose quality in that process.  "Broadcast Quality" is what is expected of television programs and captures images in enough vivid detail to seem realistic or ultra-realistic.  "Industrial Quality" is what most accurately reproduces the needs of the corporate, scientific, and technical world with enough detail to accurately reproduce a viewable product.  "News Quality" is what can reasonable capture events with enough detail to convey the situation.  "Home Use" is the lowest of the quality scale and can capture an image which is recognizable within a specific group (ie: the family).
       
      Broadcast Quality
      Recording      		 Broadcast Quality Recording Industrial Quality Recording Industrial Quality
      Recording      		 Industrial Quality
      Recording      		 News Quality Recording News Quality Recording Home
      Use
      Recording      		 Home Use Recording
      high definition video 1 inch reel to reel video Beta SP cassettes Digital Beta cassettes BetaCam
      cassettes      		 Prosumer
      Digital cassettes      		 S-VHS cassettes Digital /
      Hi 8
      cassettes      		 VHS
      cassettes

      SLIDES........ Another means of producing an effective film to enhance communication of your idea is a slide show. These can run by themselves in a convention or meeting setting or assist a speech. They can be produced inexpensively and can be put on videotape, computer disk, or CD Rom.. Slide presentation have the drawback of not allowing synchronized recorded narration, though using computers this has been made possible.

      COMPUTER PRESENTATION........ One of the latest innovations is the computer presentation. This is an effective sales tool for small meetings and one-to-one meeting with clients. It is generally a mixing of photographic images and graphic art and can entail motion pictures, music, and narration. It can be displayed on the computer, on a television, or projected with a video projector.

      CD ROM/DVD.............. Another way to effectively reach an audience is through CD Rom. In a convention setting, it can work interactively with the audience to display what they are interested in seeing without having to see what they are not interested in. It is a complex format and the initial investment can be large. But it pays off in the long run. For large direct mailings CD Rom is cheaper to produce and ship than videocasettes or even printed catalogues but it does require that your targeted audience be computer literate and own a computer with a CD Rom player.  The more recent boom in DVD (digital video disks) is allowing more information in the form of quality video with the interactivity of CD Rom.  DVD may quickly be replaced by the soon to be released HDVD disks (high definition video disks) which hold more than four times the information and can run ultra high quality video..
       

    In each case, the creative work before shooting the film (pre-production) and the work of editing the shot material into a final product (post-production) are much the same. And that is also true of the costs of pre-production and post-production.

    The choice of format for the production is one of major impact on the project's budget. And it determines the way your audience will be able to see your project.

4. Distribution
    It may seem, at first glance, that a full discussion of distribution and distribution costs is out of place in STEP ONE. Just the opposite is true.

    To be effective, your film must be seen. Too many business films are made, shown to the Board of Directors, and put on the shelf, because no funds were allocated for distribution. A good film deserves a better fate.

    The cost of distribution can, and often does, equal or even surpass the cost of production. So, during this first phase, keep in mind that whatever funds you may have set aside for production may have to be matched after the film is completed.

    1. Methods of distribution
     

      Some business films are used to enhance a product (i.e.: new systems training, demonstration of a products benefits). Others are the product (i.e.: a medical procedure demonstration or a training film). Some business films are used once and locked away. Some are shown throughout a company for a short time and then copies are sent out to a number of individuals. Some travel with company members to be shown over and over again. Some are distributed to television, via mail to homes, etc.

      There are several methods of distribution for business films. Several of the most common are listed below. You will need to decide, at this stage, which will best suit your needs and your budget.
       

        a) In-house control of distribution, i.e., a training tape, would involve the inventory of several duplicates, owning a VCR or film or video projector, time away from the job for viewing, etc.

        b) Limited distribution to outside organizations such as scientific and professional associations, school systems, social groups, etc., involves promotional costs to advertise the availability of the film, the handling of the resulting correspondence and bookings, the inventory of a number of duplicates, and the personnel to maintain the library of duplicates.

        c) Professional, nation-wide distribution organizations will promote and advertise your film; arrange for screening; maintain and repair duplicates; and provide a monthly or quarterly report on the location and number of screenings and approximate audience sizes. The cost for this service varies, but it is related to the number of prints you put into circulation; the area you select, i.e. regional or national; the amount of literature desired and the frequency of promotional mailings
         

      Remember, the wider the distribution of your film, the higher the distribution costs. As stated earlier, these costs can often exceed the cost of producing the film itself.
       
    2. Duplication Costs
     
      We have provided an industrial listing of prices fro duplicating videotape and CD Roms. Determine the costs of duplication by finding the video format on which you will release your videotape, estimate the length of the videotape and determine the number of duplicates you will make. Remember to add at least $3.00 per tape for labeling and shipping.

      If you shoot on film or decide to have your videotape transferred to film, your duplication costs will be substantially higher. However, modern technology makes it possible to get great looking films from high quality videotape. The extra cost will be more than justified if your program will need to be screened by large audiences.

      VIDEO DUPLICATION COSTS TABLE

STEP TWO

Pre-Production

Step Two is choosing a production company with the expertise to develop your idea into a film. This means researching your needs and developing an outline or script for the film you want and producing and editing the visual material to complete the film you need.

1. Selection of a Production Company

    The initial pre-selection of a production company is most often done in one of three ways:
     
      1) By reputation. The large production companies advertise regularly in business publications; most are competent and have been in business for some time.

      2) By recommendation. Business associates in other companies, who have had films made for them, often suggest the production company which made their film. Ask them!

      3) By trial and error. The Yellow Pages abound with companies under the category "Television Production," "Video Production," or "Film Production."
       

    The final selection of a production company is most often based upon:
     
      1) Creative and technical ability

      2) Credentials

      3) Personal rapport and mutual confidence
       

    Creative ability is perhaps the overriding factor. Can the production company translate your idea into a smoothly flowing, factual outline, an easily understood script, and, finally, an absorbing and exciting film? The judgement of the creative ability is best based on an evaluation of sample work. Ask the production company to arrange screening of films they have made for other clients. (Unless you have previous knowledge of film production, it is a good idea to screen films in their entirety, as opposed to sample selections. Your concern is with the total effect of the film----not the technical competence of a single scene, out of context.)

    Credentials are often the best way to find out how good a company is. Be sure to look over their work and check the references behind the work they show. There are many who will claim other people's work for their own and some who complete a project which, however good it looks, may not have been what the client wanted. This will also tell you if they finished it on time and on budget.

    Personal rapport and mutual confidence is important because of the closeness of the relationship involved in a film production. The production company will also size you up. A "happy set" is as important to them as it is to you.

    Oh, yes. Cost. That is a consideration which you will soon have to face.
     

    Up to this point,
    your dollar outlay has been nil.
    With STEP TWO - Part Two,
    you begin to spend money.
    You have looked at a number of production companies and found the one which seems to suit your film best. You now have the opportunity to test them. Instead of signing the project over to them fully, you will do it in two stages, requiring two contracts, which allows you to see just how good they are. The first part is the development of an outline (basic script) and the second is the actually physical creation of the film. These are broken into two deals so that, should the production company fail to be what you expected or should they decide they cannot do the physical production for the cost you have set, you can switch production companies before the physical production begins. This perhaps sound overcautious but it is in your best interest.
2. Development of an outline or script
    While you know what your film should say, you are best getting the expertise of a producer to bring the power of the visual medium to refine your idea with the tricks of the medium. If you have a specific product with a direct statement, it requires a script. If you have film which is based on documenting a process, you need an outline of how that process will be edited into a film.

    To support the research necessary to develop an outline or script, most production companies require a fee. Some call it a retainer, other call it "research and development." The fee varies to fit the job requirements.

    Research is necessary because the production company knows nothing about your company...yet it must prepare an outline for a film that represents your company and its point of view. The research period can be as short as a few days or weeks if you have prepared all the materials necessary for the production company to understand your company and the needs of the project. It can also take a month or more if the project is complex and requires extensive research in creating an effective outline. Your full cooperation during this phase is vital; you should plan your time accordingly.

    Yankee Classic Pictures' usual fee for research and development, for example, is $5,000, plus reimbursement of client-authorized expenses, such as travel and lodging. This fee can vary depending on the scope of the project being researched. It may be less for a simple training program, more for a sophisticated image-building project. A sample Research and Development Contract is appended to this section for your study.

    At the completion of this phase, you will receive a fully developed outline from the production company.

    It deserves ---- and needs -- your concentrated attention. This is the time to offer suggestions and make revisions. At this point, changes are made easily, with a pencil; later, when the film is in production, changes will be time consuming and costly. The production company will work closely with you during this developmental phase and will do everything in its power to make the outline a good one...as a blueprint for a film and as an instrument of your companys policy.

    Keep in mind, however, that an outline and even some scripts, unlike a blueprint, must remain flexible. It is not something to be lavishly followed, but rather is a guide to the ideas the film will communicate. A common error during this phase is to attempt to so completely define the film, including narration and visual sequences, that the outline limits the film, rather than guides it. (Remember, film is a visual medium, not an illustrated lecture.)

    Your revision, approval or rejection of the outline ends this phase. If revisions are unacceptable and you reject the outline, your contractual relationship with the production company is ended. The outline becomes your property, to dispose of as you will. The production company retains their fee, and with any luck at all, retains at least your friendship.

    SAMPLE PRELIM CONTRACT

    Your approval of the outline or script triggers the next step.

3. Budgeting and contracts
    In this step, the production company prepares a budget, based on the approved outline. The budget will reflect the costs of the film, as anticipated by the production company and within reasonable monetary limits you have set.

    Budgets may take many forms, but, in any form, they add up to what you will be asked to pay for the film. Note, by the way, that most of your money will be spend for services. The only tangible product you are buying is one copy of the film and the right to buy as many additional copies as you want. (A sample budget form and a standard production contract is appended to this section. Each budget or contract will, of course, vary in particulars but most will use the same general format as presented in these forms.)

    Most production contracts specify payment for services in three steps: the first payment upon initiating the contract; the second payment upon start of the principal photography; and the third payment upon delivery of the first copy of the film.
     

STEP THREE

1. Production

    Business films are produced from a wide variety of materials. The film may require shooting in a studio or real location with workers, actors, or products. It may require culling material from archives of old footage. It may require artists creating graphics, charts, and lettering. It may require pre-recorded narration, music, or sound effects.

    During the physical creation of the elements of the film, you will be advised along the way of the progress and needs of the production company. They are there to assist the film's creation and you will be needed to assist the production company as much as they need. But you have given them the right of creative power of attorney over the shooting. And it is up to you to trust them.

    They should not keep you out of the process but you should be aware that they require some autonomy to be able to give their full expertise to the production. They know the medium better than you do and, if the outline or script was agreed upon, should know your product as well as you do.

2. Post-Production
    If all goes well in the production phase of the film making, the material goes into editing. The production company usually does this by themselves to allow their impartial judgement to work on the project. Before the editing process is complete, you will be asked to approve a "rough cut." This is an exciting and, at the same time, frustrating experience. The rough cut is just that, a rough assembly of the elements of your film. It is an exciting time, because for the first time you see the film come to life. It is frustrating, because it can also be a disappointing experience.

    But it the time for you to put in your expertise.

    The rough cut is NOT the final product! It is half way there and can contain material which is not color corrected, contains scenes which are not fully edited and may be missing the music and narration which will smooth everything out.

    Your job, at this time, is to look at the content of the film. Does the film conform to the script outline? Does the content flow smoothly? Does the film say what you want it to say. This is the time to make changes. If you wait until the next step in the editing process, costs will increase substantially.

    If you have questions, now is the time to ask. Be blunt, open and honest. This is your film. The production company wants you to be happy with the final product. The rough cut is the last step where substantial changes can be made without breaking the bank. Remember, however, if they have shot the script you have approved, you cant expect them to reshoot! They will be happy to make changes to accommodate you with material they have already shot. Expect to pay more for shooting material not in the original script outline.

    If you have worked closely with the production company, the rough cut screening, for all its potential pitfalls, should be an exciting time. You will see your ideas flesh out and come alive!.

    When the editing process is complete, you will be asked to approve an "inter--lock" in the case of film, or an "off--line cut" if the project is shot on video tape. While the editing process is virtually complete at this stage (and it is the final stage where changes can be made, though the costs will be high) the work is far from finished. All the major elements of the project are in place, but there is still much to be done to turn the film or videotape into a finished presentation.

    The next steps are technical ones. The sound components must be re-recorded or mixed for film. In video this process is called "sweetening."

    The visual elements are now brought to a finished state by editing the original picture material (your original film or videotape has not been touched to this stage, so it is in pristine condition as opposed to the dirty work print or work tapes used in the editing process). This is called "conforming" in film and "on-line editing" in video.

    At this stage all the processes that make the pictures match from scene to scene are accomplished. It is a tedious, time-consuming process. Once the project has reached this stage, changes become enormously expensive. This is why it is absolutely essential that you make changes before this point in the production process.

    When the production company finishes this stage of the production, they will deliver a release copy of the production to you and their contractual obligation to you is completed.

SUMMARY

We have prepared this with two things in mind:

    1) To solicit your business

    2) To make your business worth getting

We want you to know what it takes to make a business film; where your money goes; and what you get for your investment. We believe the more you know about our business, the more you will appreciate us.

If you have any questions regarding any of the points made or implied in this web page, please feel free to contact us.
 

Yankee Classic Pictures
1751 Beacon Street
Brookline, MA 02146
tel: (617) 975-0285
email: ycp@yankeeclassic.com

 
 



@ 1998, 2001 Yankee Classic Pictures
Our sincere thanks to our friend Warren Nelson of DayDawn Productions, Vancouver, Washington. If you are planning a shoot in the Pacific Northwest, we highly recommend his and his production company's services.