A video attracts more attention than any other form of media, especially on the web, but you need top-quality material that’s edited with skill, with a sound track and a first-rate voiceover.

When our clients are on a tight budget, we quite often assemble a video from archive material, which isn’t the real thing, but is very realistic.

The video I’m linking to this post included images of various physical activities, all focused on the people being filmed but the location isn’t identified. e’re aiming for the best communication of WHAT is going on. Of course we take various details into account, so if our real location has no windows, for example, we don’t use archive footage with windows or direct light.

This system is also useful – especially in advertising – for giving the client an idea of what sort of video they’ll be getting before starting actual filming, with a careful selection of suitable archive images. In this case, detail isn’t as important but action is crucial. A good example is a car spot, where the vehicle travels down a road, enters a tunnel then skirts a lake. In this case, we’d put together images from various existing spots, with different types of car, but which match our storyboard exactly. The customization comes with the voiceover, which is key to making sense of our video and enhancing understanding.

Now, getting back to the first example, let’s take a look at the montage demo (which still has watermarking that will be removed only after the client has approved and purchased the product) for a Milan gym: http://www.youtube.com/watch?v=Fa5iG_dM3QY

A while back I was working on a new site for Piacenza Cashmere, a company founded in 1733, and I thought I’d hit the “age limit” until I was contacted by Piana Clerico … who opened for business in 1582!

I was honour-bound to mention the age of this doyenne of luxury, but now let’s talk about the project I developed for them.

As always, the most important moment is the beginning, the exploration of the client’s expectations and requirements. In this case, the main request was to attract online visitors to the new corporate showroom and ensure the products were given maximum exposure. The client actually asked for a 3D version of its showroom to be created, so visitors could browse it almost as if it was were a Second Life scenario.

I didn’t think this suggestion would work once I had a clear idea of the company’s target. Piana Clerico actually sells to adults with enormous spending power, resident in emerging countries like Russia, China, Latin America, Arab states. The 3D approach would have required a background developed in a Second Life- type environment and, by nature, a 3D environment creates virtual backgrounds and products, while we wanted to showcase real products and persuade people to visit the actual location.

I was keen to make the company understand this perspective, so I picked out a number of 3D showrooms already on the web and at the next meeting with the company’s representatives I showed them the sites. They had no trouble understanding what I meant.

Having set aside the 3D option, I then suggested five alternatives and here you can see the pros and cons of each one, taken directly from the quote I sent in:

Video

Best choice if we want people to see the showroom.

Pros:
- Maximum fidelity to the real thing, maximum detail
- Possibility of using sales staff to welcome and guide customers in the purchase process
- An advertising style that’s more familiar to your audience compared to other alternatives
- “Human” presence in the showroom

Cons:
- Limited camera movement
- Requires more logistics commitment (use of a telescopic dolly for overhead shots, lighting, more staff)
- Can be complex to change products on offer

Photography

Excellent value for money

Pros:
- It’s possible to add/modify/remove all products without changing the backdrop
- Use of several shooting angles (probably four) gives a feeling of greater depth to the showroom
- The site loads faster than the video version

Cons:
- Lack of animation in the opening logo panel (can be replaced with a photo)
- Loss of the human factor: there aren’t any people in the 3D showroom

Use of panoramic images (Quicktime VR)

A technique for 360° photos and three or four of the showroom are enough

Pros:
- Allows for navigation inside the showroom

Cons:
Technically lower quality images
- Camera movement can cause distortion
- Adding new products is more complicated in the photocompositing stage

3D

The whole showroom is re-created digitally using photorealistic techniques with excellent graphic rendering.

Pros:
- The camera has total freedom of movement in the showroom
- Showroom elements can be updated without too many problems
- It’s possible to create a bespoke environment
- Product sheets are embedded in the showroom (next to each product)

Cons:
- Loss of the human factor: there aren’t any people in the 3D showroom
- There’s a risk that the showroom investment won’t be cost-effective

Graphics

Use of a backdrop created from scratch, using real images

Pros:
- More impact

Cons:
- Risks being detached from the experience shared with other fashion sector competitors
- Loss of the human factor: there aren’t any people in the 3D showroom

We sat down with the client to discuss the various options and we decided to spend the budget on a photographic-type site, but with a dynamic edge to it.

I set up two work groups, one for the photography concept and the other for programming. I also decided not to go with Flash so mobile devices (IPhone and IPad above all) could view the site. Although the design specs didn’t require this, it meant we were able to optimize later on. It’s crucial in these cases to try and foresee future limitations.

A fundamental aspect of the site was that we had to be able to update it without having to take more photos, so I decided to empty the showroom completely and take photos of it for the backdrop.

A big hurdle was the fact that the showroom was still being built and we couldn’t use the location although the due date was just around the corner. Our solution was to re-create the whole set in 3D, take the shots and get them viewed and accepted before we even took the team to the location.

Once the shots were signed off, I sent the 3D material to my programmers and they started to add movement to the stills, they made each showcase (already correctly positioned in 3D) clickable, and they populated the database with the texts for all the products.

Then we went on to studio shots of the products. First of all we tried out some sets to get the right look: lights, backdrops, positioning of the products (the photographers are still having nightmares about the belts “floating on air”…). Given the sheer value of the products (overall about 400,000 euros) we couldn’t even have them in the studio without a company staff member present … and overnight was out of the question. As soon as we had worked out all the logistics and prepared the set, we were able to take all the photographs very quickly.

After that we took 360° shots of all the showcases, plus an extra empty one just in case. By taking plenty of shots we had complete control of how we could position the showcases, especially in future.

Once we’d finished the work for the showroom, we went to do on-site shots and we soon found out that light was going to be a problem because there weren’t any curtains. It was actually impossible to use a significant part of the showroom, which obviously made it difficult to set up the showcases.

So I edited the interiors images to allow a much bigger range of positions. Once again, the 3D set we’d prepared in advance was crucial. The dimensions provided by the 3D set provided a guideline for photomontages of turned, staggered showcases, otherwise it would have been impossible to get them to look so realistic when embedded into the context.

Lastly we retouched the colour, adjusting light and glare, adding essential highlights to the centre of the showcases, which now almost seem to have an inner glow.

This is where the programmers came into play. First they uploaded the real photos and then the site texts onto various browsers and computers.

While we wait for the new collection to be launched, the site has been published in English. When it’s up and running it will be in seven languages: English, Italian, French, Spanish, Russian, Chinese and Arabic. It will also be possible to purchase all the items via an e-outlet. Following a purchase or a request for information, an operator who speaks the right language will call the client to reply to any queries.

Our customer can update the site simply by adding new products. We’ll do the photography in our studio, placing digital product images in the showcases, positioned in one of the five photos already present.The showcases can be completely reconfigured and moved at will.

Another of the client’s requests was for an extra floor in the showroom for displaying apparel and we’re able to do that with the material we already have, which means the company will save money. The new floor will be connected to the existing level by a lift.

Basically, this was a Premium Project whose special requirements were met by completely personalizing implementation, allowing plenty of room for product range expansion and updating.

Now here’s a site still under construction but which you can already see online at: http://www.pianaclerico1582.com/en/

The animated menu visible in this post was developed to meet the client’s needs for a sole site, both in form and in substance.

My first concern was how to personalize this menu, making it easy to use and easy on the eye.

I started with the company logo, a thistle, which is a plant still used today for top-of-the-range processes.

My idea was to use this flower as the centrepiece and have the company’s branches growing out of it.
As soon as we had presented the concept and been given the go-ahead, we got to work. First of all I sifted through 400 thistle images to find the right one.

Then I customized the thistle by turning it red, a colour that is another iconic feature of the corporate logo. I also added the elements to be animated.

At this point I started to develop the animation, trying to make the growth of the branches, flowers and leaves acceptable. The biggest problem was to provide a feeling of movement without going overboard with the animation. I also had to consider the prospect of menu items being modified, so I had to find a way to leave enough space for changes, erasures and additions.

First I created the basic animations, then I went on to develop interactions with the background. Actually, I had to consider all the permutations, controlling increase and decrease on the basis of what the viewer was selecting.

Then I added movement to the thistle stems and made them as realistic as possible.

The next step was to superimpose the menus and make sure they appeared at the start of the animation, only to have them disappear until the mouse scrolled over the various sensitive areas.

This quick start-up guide means customers can find their way around the thistle immediately, which is crucial to their navigation experience.

At this point we came up against the problem of the “Dalla natura i sogni” [“Dreams born in nature”] menu, because what started off as a short list was getting longer by the minute and had reached 13 items. We solved this by adding a dragonfly that flutters across the thistle and reveals the options.

Moreover, our interaction with the client was a key element throughout this project, as we presented and got written approval for each stage. We did this to prevent communication issues and resolve any departures from the original project in good time.

Take a look at the finished animation (the menu items aren’t active as it’s not linked to the site).

With a title like “You’re in the beauty site” we didn’t have much choice. The result had to be elegant, simple, classic.

The Beauty Personal Team are a group of cosmetic consultants.

Each of them already had a space on the web but working as a team they needed a team space, sharing advertising costs and a brand, with a single source for the information they offer.

The challenge was to do all this on our Basic Project budget, which meant our key focus was budget and timing.

Technically we opted for a static site, with no CMS. The site really has just seven pages and spending for a dynamic site wouldn’t have been good value for money. In any case, the texts won’t need frequent updates so there was no point in teaching the clients all the technical intricacies.

The next step was to decide on site graphics with the client’s input. As I do with most Basic projects, I selected a series of five different options and the client chose one, which is now online. For a Basic Project it’s important to make the most of the first meeting, when the client explains what they expect from the site, both objectively (using examples of other sites they’ve seen) and subjectively (describing the emotions they want to arouse in site visitors).This initial encounter influences our proposals for graphics and concept.

After this we moved on to texts and images. This specific client already had excellent scripts and photos, so we concentrated on layout. A key detail was that of adding adequate line spacing to the text, making it generally easier to read the content, as well as watching out for headers, which are crucial for attracting the reader’s attention. Last of all, we reduced the height of the main photos so that the layout was also easy to view on small screens. As usual, we verified that the site displayed correctly on various browsers as well as on mobile devices like iPhones, iPads, BlackBerries and Android systems.

It was at this stage that the client had some doubts about the contacts page: how could we display all the members of the team without losing the unity typical of the rest of the site? The solution we came up with – and which the client liked – was to add a time code to the pages so that every two hours the site displayed content dedicated to a different member of the team. In this way each partner has equal exposure without clashing with the team site image.
An excellent example of a Basic Project, completed in just two working days.

Go to the site: Beauty Personal Team

I produced an interesting video with my video production partners, which I’d like to talk about, to describe how we made it and the message we wanted to get across.

The target for the video was a type of company that would reap the benefits of video communication on various platforms. Our goal was to make a video for demo purposes, filmed and edited with the same tools we offer to companies. Instead of a photographer’s studio we used an empty loft where we set up all the equipment. This is an important element for a company assessing project feasibility, because we can provide the entire chain ourselves, even offering staff training.

Another interesting aspect was the speed of production: a day of shooting and one of editing was all we needed for the entire job, including the time required to set up and take down all the equipment.

This is how it went:

1 identification of the message and the drafting of the text.
Definitely the most important part. We decided what to say, trying to intrigue anyone watching the video. No self-referencing in any way, but easily verifiable facts and findings. Room for practical examples in clear, direct language.

2 chose our talent.
After we had defined the message, we looked for an attractive person who would embody it well, but who was above all a brilliant conversationalist. We decided on Roberto Vandelli, a TV, stage and film actor. Most Italians know him for his roles in the soap Vivere, the sitcom Camera Café and a number of spots (mainly in the financial sector).

3 Our location.
I decided to film in Milan, basically to speed it all up. Roberto was actually in town for a play so we didn’t have to wait for him to be free. I found a good spot in the Ripamonti quarter, in a loft conversion in an old distillery.

4 Filming day.
A very long day, but well worth it. We’d brought props for every situation, but luckily it all went well. The biggest job was to black out all the windows so we could control light levels. We then set up the lights, two cameras and the green backdrop for the chroma key. The prepared script and an experienced actor meant it all went smoothly.

5 Editing
We added backdrops, music and superimposed text over the images we’d recorded in the studio, then we adjusted colour and sound levels. I decided to show the entire set and for the first few seconds I left the original image with the green screen. This allows any interested companies to see what’s behind a “simple” image.

6 The video.

The title of this post refers to a guide I wrote, Il sito web nella piccola impresa (Websites for Small Businesses), available for free download.

It’s not unusual to hear people comment that free downloads are a waste of time as you get no return. I don’t agree. I think it’s worth offering basic – but complete – information to allow readers to get the feel of the subject and give something back to the web: like everyone else, I read lots of web guides and information, so when I can, I do my bit.

Not to mention the fact that by circulating content you may get contacted for new jobs. It happened with George Clarkson, a real globetrotter, a volcano of ideas and schemes. I got to know him because he read my guide and after a pleasant Skype chat (George lives and works in Germany) we kept in touch.

That’s how I had the pleasure of creating a logo for George (in this case, I did the job personally, both to keep my hand in and because the client was such fun).

But the best thing was that when I’d finished, he dedicated a post to me on his site, outlining the project we developed together.
Here are just a few comments, so you can understand the feeling that develops when a good customer crosses the path of an good supplier:

“The ones who know me have already been informed of the change, but many are still waiting the first steps of it. What am I talking about? Well, after I don’t even know how many years, and especially after the decision to open a personal company here in Germany (where I reside at the moment), I finally made my mind up and made a professional web designer, who became also a friend of mine in the meantime, to “update” my old family’s company logo. Decision was hard, since it meant that I had to cut, in many ways, to the past. But the restyling was done beautyfully, and the designer caught immediately my ideas and put them on paper in a timely manner it is rare to be seen nowadays. The name of the author of the job done, which I consider minimalistic yet effective (and I personally love it) is Alessandro Serena, and you can reach him via his web address: www.alessandro.serena.name“

Go to George’s site for the full article

I managed the production of a corporate video for Segway, the American company famous for its electric scooter.

The advertising agency rep had been invited to go and talk on a TV show about this cute, multitasking means of transport. He decided to go to the show with a Segway (which the anchor-man also tried out) and show the audience a short video presentation.

So here we were in Milan, in August, wandering around piazzas, gardens and supermarkets: Watch the video

How about that…

Traffic problems: a tram stopped in the middle of the street and the driver got out to ask how much a Segway cost.
Church problems: they wouldn’t let us use Piazza Duomo to film
Police problems: officers found out we wanted to film in front of the Duomo and they advise us not to.
Babysitting: a toddler who stopped crying because he saw us pass … then started again when he couldn’t have a ride …
My cameo appearance: I’m in some scenes, look for the man in the white trousers and orange t-shirt.
Our mistake: in some scenes we forgot the crash helmet.
Operator error: at the end of the day he wanted to try the Segway and I think he was the first Italian to fall off.

Well, didn’t we have fun!

Can you get your message across with a single shot, a fixed camera, without words?

I produced this video for a client of mine who was handling Segway. With zero budget, I provided a very short but memorable video.

Here the main task was twofold, first the concept of the music as a fil rouge and, secondly, achieving perfect synchronicity between the music and the footage. With all this in mind, it was crucial to film the scene while the actor on the Segway pirouetted in time to the music.

I think this is an example of how important a schedule can be, especially for such a small job. The tight budget and timeframe can only work if the scenario is already in your mind, otherwise there’ll be delays and hiccoughs.

Let’s take a look at my work folders. Man, how time flies and five years seems like an eternity!

Here’s a video I made in April 2005, near Milan.

It’s a promo video I made for the MilanoMedia agency, who was organizing a promotional tour of Italy, taking in wholesaler Metro’s various outlets.

It was very important to document the activities of the animators and, more generally, the Metro customer experience and their reactions to this “holiday village-style” (with a tasting area and an animator complete with speakers and mike).

For MilanoMedia the video was a valid tool in its subsequent meetings with potential clients, because its four minutes are enough to illustrate the party mood that develops around the sponsored brand.

Now, let’s dust off my files after five years in storage: http://www.youtube.com/watch?v=cjtJym7Ipco