Friday, 25 September 2015

Go beyond borders, the new ways with the old medium

There’s something interesting happening to our attention spans and the kinds of things we’re willing to watch across different platforms.

Nicolas Roope of Poke London chaired an interesting debate about 'video' with Guy Larsen, a YouTube filmmaker and Vysia Duffield from Pixability.

The panel shared their thoughts whether videos should be long, short or cut in landscape or portrait mode. In order to show how video is changing as a medium Nicolas showed the audience at Social Media Week London some really cool videos:

Nicolas asked the both Guy and Vysia what would make a video appealing to which Guy responded "when you start your video ad with your logo you straight away tell me the rest of your video is annoying". Vysia added "be approachable and engaging" not every video has to be expensive to be engaging.

In the new era of video advertising, brand managers and directors need to accept the true fact that 'no one cares about your brand, they care only about the experience you can deliver'. This reminded me of the highlight during 'Audience Development & Production Session' ran by YouTube back in 2012:
If something can be put across in 1 minute, as opposed to 2 minutes, then it should be. Longer videos are harder to get people to watch. Seeing the length of a video can also put a user off from watching it in the first place. 

The key message for brands, agencies and creators is therefore to ask themselves how many people would relate to your video before you spend any money and start shooting. 

Try to have an impact and plan for your impact by structuring your video. YouTube defined impact as "the lasting effect or feeling your audience has once their viewing experience is over". Impact is what motivates your viewers to like, comment, share or even subscribe to your channel. 

Last but not least, understand what makes a viewer stay or go, address it from a practical production perspective; engage first then branding and packaging. 

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