7 social media video trends to expect in 2017


1. Length is becoming irrelevant but there’s a much higher emphasis on creating engaging content that audiences want to watch.

2. 2 minute pseudo news pieces are dead. Either give the audience an engaging film to watch or cut the crap and tell the story in 30 seconds.

3. Brands will be delivering multiple short clips across social to add longevity to a campaign day rather than reposting the same content.

4. Subtitle EVERYTHING. The majority of views will come from silent autoplays in peoples social feeds. Embrace this and subtitle all content.

5. Facebook Live is here to stay. With captivation times of 20 minutes ON AVERAGE brands will be utilising this much more in 2017.

6. 2017 will feature even more YouTube stars rather than their ailing reality star counter parts. Whilst they might have larger fanbases, their production values are often not good enough for an integrated PR campaign. Working with reputable filmmakers, your brand can still produce content that will engage on social and also generate the media leads you’re after.

7. 360 degree video maybe a fad but it’s here to stay for 2017. Expect creative and experiential uses by brands throughout the year.

Any of this peaked your interest? Get IN TOUCH with me to chat more.

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A Film-Maker's Review of Shot Put Pro 6

A Film-Maker's Review of Shot Put Pro 6

Why aren't all camera operators doing this?

For some time now secure offloading software has been available. Whilst it's widely used by DITs and Data Wranglers, there is a slow but gradual uptake of use by camera operators, editors and videographers. I've personally been using ShotPut Pro 5 for the last year and whilst it does double the offload times at the end of a shoot, to have the knowledge that all the data is securely transferred to two separate locations and checksum verified, I can go home without worrying that I'm going to get a call in the morning from a client who's data corrupted on transfer.

So how often is that likely to happen? Well not very often that's for sure otherwise everyone would be using it by now. A prominent person within post-production recently tweeted (sorry I can't find the source now!)... "It's like wearing a condom. Why take the risk?"

For me personally, it comes into it's own when using Sony's dreaded XQD reader. A slight knock when it's plugged directly into the USB and the transfer fails. You might not always pick up on it so having a piece of software that tells you it didn't transfer successfully and displaying a warning message, is important in my mind.

The other point to using this, is that I like to have a minimum of two copies of all my footage during a project. This just means in the extremely rare event a mechanical failure or simply misplacing the drive, I've still got a backup of the important stuff elsewhere. Offloading software will automate that process for you.

ShotPut Pro 6

So this is where ShotPut Pro 6 comes in. As the latest version of Imagine Product's DIT suite, it brings a couple of new feature's to the table. Namely improved licensing, faster speed, better ability for individual files and a rather cool PDF summary of each transfer.

An introduction to ShotPro 6

Speed was one of the important factors for me. Currently, a 121GB XQD file offload going to two locations (one G-Technology Studio RAID and one single LaCie Rugged [non-SSD]) using ShotPut Pro 5 took 1hr 38mins to transfer. Using ShotPut Pro 6 it took just 50mins. That's obviously a great improvement after a long shoot day when you just want to pack the kit down and get home!

My next favourite feature is PDF summaries. As a real world application, I'm not really sure when this will be of use to me, but it is pretty cool... As well as including all the numbers, locations and file details it features thumbnails of all the files. I guess this could be useful if you wanted to quickly scan through the cards without booting up Sony Catalyst or your NLE.

Individual file and folder transfers have been greatly improved in version 6. Now there's the ability to just drag and drop different folders from one location to another. This is a great way of securely moving files around numerous hard drives in the edit suite.

Notifications also have some interesting new updates. On this version, you can program ShotPut Pro 6 to email or text you once the transfer has finished. Again, I'm not entirely certain when I'd personally need this, but I'm sure there is some real world situation that this would be really handy for someone.

ShotPut Pro Notting Hill Carnival

Using ShotPutPro 6 at Notting Hill Carnival this year

The final feature that I was excited for (weirdly) was the licensing. ShotPut Pro 5's licensing was pretty dire. Like pretty much everybody, I run a couple of machines. My main edit suite and a location laptop. ShotPut Pro 5's licensing meant that only one activation was included in a purchase and if I wanted to run the software on the other, I'd first have to deactivate it on the other one. This isn't easy when your out on location and realise the edit suite is still activated. When contacting Imagine via Twitter about this, their response was simply "Buy another license then...".

ShotPut Pro 6's licensing system is actually still rather confusing and over complicated. In a world of Adobe Creative Cloud, if you're going to implement a licensing system that pings a server, why not aim for something that's as intuitive as that? Instead they've developed an overly complicated, clunky system where by you individually generate keys and then revoke them via their website for each activation of the product. Whilst I can revoke a license when I'm out on location, it's still extremely complicated for a piece of software that's supposed to simplify my production process.

The overly confusing new licensing system

In Summary

All things considered though, if like me speed is of the essence when out on shoots and DITing footage, it's worth the upgrade if purely for that. As for the other features, they are interesting but I don't think they would swing me from ShotPut Pro 5 alone. I think the software will continue to develop and I'd like to see ShotPut Pro 7 come out next year, with even faster verification, a simpler interface and a licensing system that doesn't drive me nuts.

For now though, I'm safe in the knowledge that my footage is corruption free and not likely to get misplaced. Unless I'm really careless...

For more information on ShotPut Pro 6, checkout their website at http://www.imagineproducts.com/.

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Do away with your script - how to capture a decent interview

Do away with your script - how to capture a decent interview

How often do you watch an online video and feel disconnected and un-interested by the video you’re watching? Actually, hardly ever. As regularly mentioned to anyone in online communications, engagement time is becoming shorter and shorter. If content isn’t engaging, there’s a high chance viewers simply won’t watch, read or look at it.

With this in mind, how we create more engaging content. For me it’s about capitalising on people’s genuine passions and knowledge and engaging them in conversation. Shane Meadows, one of my hero directors in the real world of film, uses this by allowing his actors to improvise the scenes on set. This allows the actors to play out the most emotive and heart wrenching scenes known in cinema.

So how can we use a little bit of Shane in the world of branded content, corporate and charity communications? For me it’s about allowing our interviewees to talk. A few well thought out questions will capture far more useful content than a script that’s taken days to write, approve and hours of filming on set.

So what questions should I ask in an interview?

This obviously depends on the subject and the content being produced. Obviously, only ask open-ended questions. Only ask questions you’re genuinely interested in hearing the answer from and never stop asking questions if there’s still more of their story you want to hear. I always treat questions pre-written before an interview as a guide.

As part of my pre-filming brief, I remind the people I’m working with them to produce the best interview we can capture. I ask them to try and respond with my question in their answer but I don’t get too hung up on this. I avoid stopping an interview too often to remind people to do this as you need to let them get a flow. I also like to have a clear idea of the purpose of the piece and what the key messages are going to be. It’s very hard to add this in once an interview has finished.                                     

Here are a few example questions I tend to ask.

1. Who, where, what? - Who are you, where are we and what’s going on?

2. What’s your full name and title, and please spell your full name

3. Why did you come up with this? (What problem are you trying to solve)

4. What is this and what’s the purpose of this?

5. In a sentence, sum up what it is?

6. And if people want to find out more, where can they go?

7. Have you got anything else you’d like to add about… ?

These questions form a basis of extracting the content required. It will tell a story, provide soundbites and allow the interviewee a time to freeform which is where you’ll get your best content from. Of course this won’t tell the whole story. For that, you need to pay attention. Ask relevant questions when required. Get the interviewee talking to you in a relaxed manor and do your best to help them forget about the camera.

Things I try to avoid to get the best performance

I always like to avoid using a script. Bullet points can work but as soon as an interviewee has to start thinking about what they have to say next, they can lose their train of thought. The only way a script can work, is if your talent is willing to learn it. And by learn it, I mean spend days ingraining it into their mind.

Autocue - I have hatred of autocue but sometimes it has to be done. I always recommend that someone who’s never used one before, shouldn’t try using one on a shoot. It’s so time consuming, frustrating for everyone on set and you’ll never get a convincing performance unless the talent has been trained well.

This is the hardest one to avoid, but I always try to keep pressure in front of the camera to a minimum. I try to make my interviewees feel relaxed by chatting to them beforehand and will give them gentle encouragement to assure them that they’re doing well.

So this is just my two pennies worth from a decade of doing this. I’m always open to change though so if you’ve got any tips that I’ve missed, hit me up!

Jon Collins

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