此文是天津logo設(shè)計(jì)公司關(guān)于設(shè)計(jì)公司如果推廣和營(yíng)銷企業(yè)的分享，天津logo設(shè)計(jì)公司旨在想讓更多的設(shè)計(jì)公司提高設(shè)計(jì)業(yè)務(wù)能力！

天津logo設(shè)計(jì)公司轉(zhuǎn)發(fā)原文直譯：

視頻營(yíng)銷一直是一種非常有效的推廣業(yè)務(wù)的方式。自從1941年布洛瓦制作了世界上第一個(gè)電視廣告以來(lái)，視頻營(yíng)銷已經(jīng)成為廣告的主要內(nèi)容。

事實(shí)上，幾十年來(lái)，電視廣告一直是最有效的媒體廣告形式。但是，當(dāng)全國(guó)電視節(jié)目中典型的30秒廣告的成本超過(guò)10萬(wàn)美元時(shí)，電視廣告的所有好處對(duì)大多數(shù)中小企業(yè)來(lái)說(shuō)都是遙不可及的。

互聯(lián)網(wǎng)改變了這一切。

如今，人們消費(fèi)大量的在線視頻內(nèi)容。雖然過(guò)去幾年電視參與度一直在下降，但油管（國(guó)外視頻網(wǎng)站）的收視率卻在飆升。每天，全世界觀看10億小時(shí)的油管（國(guó)外視頻網(wǎng)站）視頻。這相當(dāng)于100,000年……超過(guò)了人類歷史的總和——在一天之內(nèi)！

除了YouTube，人們還在臉書(shū)、Instagram、Vimeo和威斯特亞上觀看無(wú)數(shù)小時(shí)的視頻內(nèi)容。無(wú)論是化妝教程還是即將上映的大片的預(yù)告片，人們現(xiàn)在都通過(guò)視頻與世界和企業(yè)進(jìn)行在線交流。

好消息是，現(xiàn)在視頻內(nèi)容不再是好萊塢和網(wǎng)絡(luò)廣播電臺(tái)的專屬領(lǐng)域，任何人都可以將視頻營(yíng)銷的力量用于他們的業(yè)務(wù)。你不必為超級(jí)碗的一個(gè)400萬(wàn)美元的位置付費(fèi)——你可以為每次觀看支付幾分錢而獲得很好的結(jié)果。

為了讓事情變得更好，制作視頻廣告從未如此簡(jiǎn)單或?qū)嵒?，這意味著您可以使用您可能正在使用的智能手機(jī)來(lái)閱讀本文。讓我們開(kāi)始吧！

1)決定你想制作什么樣的視頻

每個(gè)好的視頻營(yíng)銷活動(dòng)都是從一個(gè)目的開(kāi)始的。你將投入大量時(shí)間和精力來(lái)創(chuàng)造引人注目的視聽(tīng)體驗(yàn)，并投入大量資金在網(wǎng)上推廣，你希望人們?cè)诳吹侥愕囊曨l后做些什么？

以下是幾個(gè)可能的選項(xiàng)：

購(gòu)買

下載一些東西

聯(lián)系你

記住你的生意

將你的工作和積極的感覺(jué)聯(lián)系起來(lái)

與他人分享您的視頻

你所尋求的回應(yīng)將對(duì)你選擇創(chuàng)作的視頻類型產(chǎn)生巨大的影響。

例如，Geico和福特在他們的電視廣告中使用非常不同的方法，因?yàn)樗麄兊哪繕?biāo)非常不同Geico。希望你打電話報(bào)名參加保險(xiǎn)，所以他們的廣告通常側(cè)重于通過(guò)政府雇員保險(xiǎn)公司購(gòu)買保險(xiǎn)有多容易，還能省錢：

https://www.youtube.com/watch?v=Gl3l6Bq6bMo

另一方面，福特想讓你買一輛車，所以他們制作廣告，重點(diǎn)宣傳他們的汽車的特點(diǎn)和擁有福特車的體驗(yàn)。

https://www.youtube.com/watch?v=_ewQOrqNQGY

雖然這兩個(gè)廣告對(duì)他們各自的公司都很有效，但政府雇員保險(xiǎn)公司廣告背后的概念對(duì)福特來(lái)說(shuō)并不適用（反之亦然),因?yàn)閺V告的目標(biāo)對(duì)福特來(lái)說(shuō)根本就是錯(cuò)誤的。

好消息是，一旦你知道你希望人們看完你的廣告后做什么，通常就很容易決定你需要投放什么類型的廣告。這里有幾種不同類型的視頻廣告可以考慮：

1)產(chǎn)品演示視頻

讓別人相信你的產(chǎn)品能解決他們生活中的一個(gè)問(wèn)題的最好方法就是向他們展示它是如何工作的。這就是電視購(gòu)物如此有效的原因，因?yàn)樗鼈冊(cè)谝曈X(jué)上強(qiáng)調(diào)了產(chǎn)品是如何被使用的。

產(chǎn)品演示對(duì)于物理產(chǎn)品和軟件來(lái)說(shuō)非常有用，這是因?yàn)樗鼈兊男再|(zhì)。上面展示的魚(yú)叉槍的宣傳視頻確實(shí)很好地展示了使用它會(huì)讓你的生活變得更加輕松。

2)消費(fèi)者評(píng)價(jià)或評(píng)論視頻

在這類視頻中，你的工作就是讓你的消費(fèi)者替你說(shuō)話。你所要做的就是簡(jiǎn)單地介紹這個(gè)話題，讓他們說(shuō)，然后在最后號(hào)召行動(dòng)，你就成功了。

這類視頻表現(xiàn)非常好，因?yàn)樗苯诱故玖巳藗儗?duì)你的產(chǎn)品或服務(wù)的體驗(yàn)。很少有其他方式來(lái)展示這種"真實(shí)可信"的消費(fèi)者體驗(yàn)。

例如，看看這個(gè)由生命鎖發(fā)布的視頻評(píng)論：

在拍攝評(píng)價(jià)視頻時(shí)，你需要用要點(diǎn)格式概述你希望他們講述的故事，然后問(wèn)他們一些問(wèn)題，促使他們用概述的敘述來(lái)回答。如果你不經(jīng)常，你會(huì)在沒(méi)有任何指導(dǎo)的情況下拍攝幾個(gè)小時(shí)，希望消費(fèi)者會(huì)給你一個(gè)你可以使用的襯墊。

當(dāng)你得到評(píng)價(jià)時(shí)，你需要記住的另一件事是，大多數(shù)人以前都沒(méi)有上過(guò)鏡頭。非演員在鏡頭前會(huì)緊張，緊張的發(fā)言人不會(huì)喚起觀眾的信心?；〞r(shí)間學(xué)習(xí)如何采訪非演員。

3)教育或教學(xué)視頻

找到你的目標(biāo)市場(chǎng)正在經(jīng)歷的問(wèn)題，并告訴他們你的特殊解決方案。在大綱中這樣做，或者用突出卷軸的方式。它應(yīng)該增加觀眾體驗(yàn)的價(jià)值，而不放棄你的內(nèi)容中的一切。以我們的博客總結(jié)視頻為例，或者這個(gè)關(guān)于爆頭攝影課程的精彩視頻。

知道你會(huì)讓你的觀眾想要更多的最好方法是遵循迷你裙規(guī)則：你的視頻應(yīng)該足夠短以抓住他們的注意力，但也要足夠長(zhǎng)以覆蓋主題。

無(wú)論是專家訪談、講解視頻、操作視頻還是其他教學(xué)內(nèi)容，教育視頻都是提供價(jià)值的好方法，而不會(huì)顯得過(guò)于注重銷售。這是利用視頻營(yíng)銷與潛在客戶建立積極關(guān)系的好方法。

4)幕后視頻

如果你有一個(gè)優(yōu)質(zhì)的產(chǎn)品或者你已經(jīng)存在的內(nèi)容有一個(gè)大的粉絲群，BTS(幕后)視頻是非常有效的。它讓普通消費(fèi)者更加欣賞你所做的一切。

防彈少年團(tuán)視頻之所以做得這么好，是因?yàn)樗囊曈X(jué)故事取代了蹩腳的短語(yǔ)"這是高質(zhì)量的。"聽(tīng)到這句話，每個(gè)人都持懷疑態(tài)度。然而，如果人們看到了制造你的產(chǎn)品的詳細(xì)過(guò)程，他們很難不發(fā)表自己的意見(jiàn)。

當(dāng)你在制作防彈少年團(tuán)宣傳視頻時(shí)，嘗試拼湊一個(gè)故事是很重要的。它應(yīng)該圍繞為什么你的產(chǎn)品是這樣做的，并展示為什么它會(huì)變得更好的細(xì)節(jié)。

根據(jù)你的營(yíng)銷對(duì)象和你的商業(yè)目標(biāo)，我們?cè)谶@里討論的一種或多種類型的視頻可能值得一試。訣竅是弄清楚你的潛在客戶最感興趣的是什么，以及你如何利用這一點(diǎn)讓人們做你想讓他們做的事情。

2)確定你的目標(biāo)受眾

要?jiǎng)?chuàng)建一個(gè)有效的視頻營(yíng)銷活動(dòng)，你需要了解你的視頻是針對(duì)誰(shuí)的。與某些類型的在線廣告不同，視頻廣告通常面向相當(dāng)大的人群，但知道你的廣告具體面向誰(shuí)仍然很重要。

不幸的是，許多廣告商說(shuō)，"我想要一個(gè)能吸引我的目標(biāo)市場(chǎng)中所有人的廣告。"那可能是真的，但是你的廣告需要有選擇性。針對(duì)所有人是懶惰和浪費(fèi)金錢。

制作五個(gè)針對(duì)不同人群的廣告要好得多——即使它們都在為同一種產(chǎn)品做廣告。這樣你會(huì)得到更多的轉(zhuǎn)化。所以保持簡(jiǎn)單，就像這個(gè)廣告。

每個(gè)人都可以吃麥片，那么如果每個(gè)人都可以吃，為什么這個(gè)廣告要針對(duì)爸爸們呢？因?yàn)?，在大多?shù)家庭中，爸爸是養(yǎng)家糊口的人（從字面上看)。即使其他人去購(gòu)物，父親也會(huì)在購(gòu)物清單上輸入他的信息。

此外，瞄準(zhǔn)父親的一個(gè)好理由是，當(dāng)父親聽(tīng)到屏幕上重復(fù)出現(xiàn)"父親"這個(gè)詞時(shí)，他們的耳朵會(huì)豎起來(lái)。當(dāng)他們看到兒童玩具的廣告時(shí)，他們可能不那么興奮了。

具體的目標(biāo)就像在你的市場(chǎng)面前揮舞一面巨大的旗幟，并大喊"看這個(gè)!"你的信息和目標(biāo)市場(chǎng)越具體，你的轉(zhuǎn)化率就越高，這也是我們所追求的。

2)寫(xiě)出你的視頻營(yíng)銷廣告

既然你知道你的視頻的目標(biāo)是什么，你的目標(biāo)是誰(shuí)，現(xiàn)在是時(shí)候把你的視頻廣告的腳本放在一起了。你的劇本將是你視頻廣告的核心和靈魂，所以花時(shí)間認(rèn)真思考你的劇本是值得的。

讓我們來(lái)看看一個(gè)優(yōu)秀的視頻廣告腳本需要具備哪些要素。

偉大的劇本講述了一個(gè)故事

好的廣告講述一個(gè)故事。對(duì)任何廣告來(lái)說(shuō)都是如此，但對(duì)視頻營(yíng)銷來(lái)說(shuō)尤其重要，因?yàn)楣适率谴偈褂^眾觀看更多的東西。他們想看看整個(gè)冒險(xiǎn)是如何展開(kāi)的。

以這個(gè)視頻為例。

當(dāng)你看著這個(gè)關(guān)于泥土魔鬼的廣告時(shí)，你真的感到緊張。這房子里有個(gè)惡魔，它不會(huì)消失的。如果他們叫一個(gè)水管工來(lái)把他們的女兒從天花板上弄下來(lái)，這個(gè)恐怖故事就不會(huì)做得這么好。就沒(méi)有需要打破的緊張。

當(dāng)你開(kāi)始寫(xiě)劇本的時(shí)候，試著想出一些有趣的角色和一個(gè)人們可以投入進(jìn)去的場(chǎng)景。做一些與你心中的世界相關(guān)的事情，讓它變得令人難忘。結(jié)合不該結(jié)合的世界，做意想不到的事，或者，見(jiàn)鬼，就給我們講個(gè)愛(ài)情故事。

即使你做的是電視廣告類型的廣告，有一個(gè)發(fā)言人對(duì)著鏡頭說(shuō)話，你仍然可以講一個(gè)故事。為你公司的產(chǎn)品找一個(gè)好的比喻，然后設(shè)計(jì)一個(gè)與這個(gè)比喻相符的廣告，或者與這個(gè)比喻完全相反。

以蹲廁廣告為例。談?wù)摫惚闶翘摷俚暮推?。然而，蹲便器顛覆了這個(gè)觀點(diǎn)，用獨(dú)角獸的糞便來(lái)說(shuō)明使用蹲便器的好處。

在這兩種情況下，視頻廣告都講述了一個(gè)故事。它創(chuàng)造出你想更多了解的角色，然后以一種滑稽的情景喜劇的方式一點(diǎn)一點(diǎn)地展現(xiàn)他們。

偉大的劇本表達(dá)了一個(gè)核心事實(shí)

許多廣告客戶太專注于做一個(gè)"有趣"的補(bǔ)充，以至于他們制作的廣告沒(méi)有一個(gè)目標(biāo)受眾可以認(rèn)同的核心事實(shí)。這也是許多彩虹糖廣告如此怪異的部分原因。他們完全拋棄了任何或所有的普遍真理。

這個(gè)廣告是錯(cuò)誤的。大多數(shù)人對(duì)吃從青春期男孩臉上摘下的彩虹糖不感興趣。如果你的形象與目標(biāo)市場(chǎng)的理想不一致，他們就不會(huì)增加購(gòu)買你產(chǎn)品的欲望。

一個(gè)令人信服的普遍真理可能是一個(gè)病毒式的視頻和一個(gè)表現(xiàn)良好的視頻之間的區(qū)別。

例如，如果你有一個(gè)廣告暗示你要給你的孩子買一個(gè)蘋(píng)果平板電腦來(lái)讓他們閉嘴，那么它的銷量不會(huì)比建議你給你的孩子買一個(gè)蘋(píng)果平板電腦的廣告多，因?yàn)樗麄儜?yīng)該得到最好的。第一個(gè)引發(fā)對(duì)孩子的怨恨，第二個(gè)引發(fā)愛(ài)。

確定你的普遍真理很重要，因?yàn)榛ヂ?lián)網(wǎng)是殘酷的。如果你試圖用來(lái)表明你理解目標(biāo)市場(chǎng)感受的事實(shí)是錯(cuò)誤的，互聯(lián)網(wǎng)會(huì)讓你立即知道。他們不會(huì)善罷甘休的。花時(shí)間確保你了解你的目標(biāo)市場(chǎng)，然后再試圖確定他們的最佳點(diǎn)。

偉大的劇本讓人有所感悟

視頻營(yíng)銷非常有效，因?yàn)樗且环N多媒體體驗(yàn)。你有移動(dòng)的圖像、聲音、文字和音樂(lè)——所有這些都能很好地喚起你的目標(biāo)觀眾的情感。無(wú)論你是讓他們笑，哭，還是介于兩者之間，一個(gè)好的視頻廣告都會(huì)讓人有所感觸。

如果你能喚起你的觀眾的情感，你就能抓住他們的注意力，增加他們記住你的業(yè)務(wù)并真正做你想讓他們做的事情的可能性。

以這則廣告為例：

宜家這則悲傷的燈具廣告很好地講述了一個(gè)過(guò)時(shí)且正在被替換的燈具的故事。你為坐在雨中的燈感到難過(guò)，像一只尋找新主人的迷路的小狗一樣被遺棄。

你沒(méi)有意識(shí)到的是，整個(gè)宜家廣告旨在幫助你改變對(duì)自己家具的情感。它讓你體驗(yàn)?zāi)阕约旱囊缿俑?，然后用幽默的邏輯超越那些感覺(jué)。現(xiàn)在，你可以更新自己的家具，而不必為此感到難過(guò)。

在你的視頻營(yíng)銷中，幽默是一個(gè)簡(jiǎn)單的選擇，但是你也可以使用悲傷、恐懼和不適來(lái)使你的廣告令人難忘和分享。你可以使用任何你想要的情感，但是要確保這種情感適合你的品牌。

一般來(lái)說(shuō)，當(dāng)你寫(xiě)廣告時(shí)，一個(gè)好的指導(dǎo)方針是思考有或沒(méi)有你的產(chǎn)品生活會(huì)是什么樣子，然后探索那個(gè)世界。隨著你的探索，情緒會(huì)變得清晰。如果你不確定自己能否制作出帶有具體情感的廣告，請(qǐng)聘請(qǐng)專業(yè)人士。

偉大的劇本讓人們?nèi)プ鲆恍┦虑?

有沒(méi)有看過(guò)一個(gè)視頻廣告，然后想，"酷，但是現(xiàn)在呢？"你可以花100,000美元制作一個(gè)獲得數(shù)百萬(wàn)點(diǎn)擊率的病毒式廣告，但是如果你的觀眾在你的廣告結(jié)束時(shí)不知道該做什么，你就付出了昂貴的代價(jià)來(lái)迷惑所有的觀眾。簡(jiǎn)潔明了，確保你的行動(dòng)號(hào)召在廣告的最后，這樣觀眾會(huì)記得該怎么做。

你希望你的觀眾在看完你的廣告后，明確地知道他們應(yīng)該做什么，以及如何去做。

這就像說(shuō)"現(xiàn)在就在某某網(wǎng)站上購(gòu)買你的產(chǎn)品"一樣簡(jiǎn)單至少，你應(yīng)該讓觀眾知道分享廣告的品牌是什么。這樣，即使你的受眾目前不在你的產(chǎn)品或服務(wù)的市場(chǎng)上，當(dāng)他們?cè)诘臅r(shí)候，他們會(huì)首先記住你的業(yè)務(wù)。

這個(gè)廣告在傳遞故事、激發(fā)情感和娛樂(lè)觀眾方面做得很好。它并不真的需要說(shuō)"購(gòu)買大眾汽車",因?yàn)閮H僅是品牌提醒本身就足夠了。他們的行動(dòng)呼吁是長(zhǎng)期的。它需要持續(xù)5-10年，直到觀眾下一次買車。

偉大的腳本從一個(gè)鉤子開(kāi)始

說(shuō)到視頻營(yíng)銷，你沒(méi)有多少時(shí)間來(lái)抓住你的觀眾的注意力YouTube。給你5秒鐘的時(shí)間在社交媒體上工作，你通常甚至沒(méi)有時(shí)間去"吸引"你的觀眾。

因此，一個(gè)好的劇本需要從吸引人們的注意力開(kāi)始，讓他們思考你的產(chǎn)品或服務(wù)BlendTech的"它會(huì)融合嗎？"就是一個(gè)驚人的例子廣告活動(dòng)。

肆意破壞財(cái)產(chǎn)是人們喜歡看的?？粗阌肋h(yuǎn)也不會(huì)想到的普通物品在攪拌機(jī)里被撕碎是一件非常有趣的事情。當(dāng)物品變得太貴，以至于你從來(lái)沒(méi)有考慮過(guò)親自混合時(shí)，賭注就更大了，比如蘋(píng)果手機(jī)。

"它會(huì)融合嗎？"這有什么奇怪的嗎？運(yùn)動(dòng)是有史以來(lái)最成功的在線病毒式視頻廣告活動(dòng)之一？

有一個(gè)好的鉤子幾乎是成功的一半。如果人們沒(méi)有從一開(kāi)始就被抓住，他們將無(wú)法看到你其余的內(nèi)容，即使它真的很好。

你到底選擇如何組織你的劇本取決于你的觀眾和你的目標(biāo)，但是一個(gè)好的劇本應(yīng)該包括我們?cè)谶@一部分討論過(guò)的幾個(gè)要素。你的劇本會(huì)成就或毀掉你的視頻，所以確保你花時(shí)間想出一個(gè)好的。

3)創(chuàng)建故事板和鏡頭列表

不幸的是，盡管你的劇本很重要，但你不能根據(jù)劇本拍電影。為了把你的設(shè)想變成一個(gè)真實(shí)的視頻廣告，你需要弄清楚你希望你的劇本如何被拍攝。為此，你需要把兩件事情放在一起：一個(gè)故事板和一個(gè)鏡頭列表。

故事板

你的劇本很重要，但只是文字。你要拍一部電影，所以想一想你希望你的劇本在鏡頭前是什么樣子是個(gè)好主意。在電影中，這種腳本可視化被稱為"故事板"。

故事板是一個(gè)重要的步驟，因?yàn)樗屇憧梢宰屑?xì)檢查你的鏡頭列表，并確保你在廣告中考慮了你想要的每一個(gè)鏡頭。

畫(huà)得很好的故事板對(duì)你的攝影師非常有用，因?yàn)樗鼈冿@示了特定鏡頭中將要發(fā)生的動(dòng)作，就像這樣：

如果你沒(méi)有任何藝術(shù)才能和/或找不到任何有藝術(shù)才能的人，這樣的拍攝列表也很好：

把你的鏡頭列表寫(xiě)在便利貼上會(huì)讓你根據(jù)劇本把你的故事板放在一起，然后移動(dòng)場(chǎng)景。這可以幫助您決定是否需要添加或刪除鏡頭或調(diào)整腳本元素。無(wú)論哪種方式，故事板將幫助你在實(shí)際拍攝之前完全想象你在做什么。

拍攝列表

此時(shí)，你可能會(huì)想，"好的，我已經(jīng)有了一個(gè)令我滿意的劇本和故事板，我可以開(kāi)始拍攝了，對(duì)嗎？"

嗯……不完全是。當(dāng)談到制作視頻廣告時(shí)，你花在準(zhǔn)備上的時(shí)間越多，你的拍攝就會(huì)越順利，之后編輯你的鏡頭也就越容易。

所以，在你開(kāi)始拍攝你預(yù)想的精彩視頻廣告之前，你需要整理一份拍攝清單。當(dāng)然，如果你是電影制作的新手，你可能會(huì)想，"鏡頭列表到底是什么？"

當(dāng)你在拍攝時(shí)，這就是一切。

基本上，拍攝清單是你完成拍攝所需的所有東西的清單，從你將要拍攝的順序到你可能有的任何筆記。

它可能看起來(lái)像這樣：

以下是你需要在拍攝清單上列出的基本事項(xiàng)。

場(chǎng)景和鏡頭編號(hào)—顯示視頻的順序。

位置——讓你知道你將在哪里拍攝。

鏡頭描述——講述攝像機(jī)上將要發(fā)生的事情。

取景——幫助你知道相機(jī)需要什么樣的鏡頭。

動(dòng)作(行動(dòng))說(shuō)明快照描述中未顯示的任何所需動(dòng)作。

對(duì)話—提供腳本中鏡頭開(kāi)始和結(jié)束位置的提示

演員——告訴你拍攝時(shí)需要哪些演員。

道具——給你一份拍攝時(shí)可能需要的物品清單。

注釋——給你空間添加任何你想成為照片一部分的重要內(nèi)容（無(wú)論你想讓它特別戲劇化、古怪、黑暗，無(wú)論什么)。

為了節(jié)省空間，你可以去掉一些東西——比如說(shuō)，你只有一個(gè)演員——如果它們很重要，你可以添加一些（比如，你需要為某些鏡頭使用特殊的燈光，而不是其他的)。盡管如此，大部分內(nèi)容都可以添加到筆記中。真的要看你怎么喜歡了。

為什么拍攝列表很重要？嗯，沒(méi)有它，后期制作（剪輯之類的)會(huì)很恐怖。

場(chǎng)景編號(hào)和鏡頭編號(hào)有助于你的編輯知道你的鏡頭應(yīng)該按什么順序拍攝，這樣你錄制的東西才能最終與劇本相匹配。這一點(diǎn)很重要，因?yàn)閹缀鯖](méi)有視頻是按照腳本中的順序拍攝的。

4)創(chuàng)建拍攝時(shí)間表

你猜怎么著？你還沒(méi)有準(zhǔn)備好拍攝…現(xiàn)在你有了拍攝清單，你可以開(kāi)始制定你的電影時(shí)間表了。

除非你的劇本非常大音階第七音

Your crew will have the most energy in the beginning to the middle of the film day. After lunch you are fighting the ticking clock of wear and tear on energy and mental stability.

If you have shots that are going to take more patience out of the crew make sure to plan them in the first half of the day. Your crew will fight against you the later the day goes. The worst thing they can say to you is “we’ll fix it in post” (aka, “we can fix it during the editing process, right?”).

“We’ll fix it in post” is the worst sentence you hear on set. At the time, tweaking things in the editing room sounds easy, but in real life, you generally end up wishing that you had just done one more take slightly differently. Typically, it takes at least four times as much time in post to fix the mistake than would have to just film it another time or two and get it right.

With that in mind, make sure that you have tested out any type of shot that you think you are going to need special effects on. If you are doing a screen replacement, make sure that you do a test shot and try editing it before the shoot. You’ll usually find out that there is something practical that you can do on set that will make editing way easier.

As an added plus, figuring out your tricky shots in advance will also give you a better idea of how much time they will take to film. Sometimes, one particularly difficult shot can take hours and that’s something you can’t afford to discover on set.

Actors are odd ducks. They would rather work really hard for one extended burst rather than being called back and forth onto and off of set. It keeps their acting momentum and it keeps up their spirits. A happy crew and actor means a happy director.

To account for this, make sure that you try and group each actor’s scenes together as much as possible. This may mean that you film your script out of order, but that’s okay! Most films are filmed out of order because it saves the production team money. If you film all of one actor’s scenes on one day then you only have to pay them one day rate.

Scheduling filming around locations will save you time and money. If you’re clever about picking the right location, sometimes you can give the impression of multiple locations without having to pack up all your filming equipment and head to a new spot.

Being thoughtful about where and when scenes need to be filmed is important because travel between locations takes time. Be generous with that travel time too, because someone always gets lost, has car trouble, or forgot a piece of equipment back at the last location.

If you are filming different shots in different parts of the same location, it will save you more time if you are filming in a house to go from one room to the next closest room if the script allows for it. The further you have to walk with all your gear from one shot to the next, the longer your shoot takes. Treat your schedule in a single locale like a tour of the facility. Try and make one seamless path that back tracks on itself as little as possible.

Sunlight only lasts so long and inconsistent lighting in your shots makes for consistent headaches in editing (and can often result in a low quality finished product). Make sure your lighting between scenes is consistent to the script that you have.

So, while you’re planning your shoot, take the time to Google when sunrise and sunset is before you set your schedule down on paper.

If changing sunlight is going to be an issue for your shoot, you can control your lighting by using blackout curtains and lighting equipment. If you hire a good gaffer, he’ll handle the whole thing for you. Just make sure that he has all of the equipment that he requests.

Makeup can take 10 minutes or 7 hours. Even when you aren’t trying to turn an actor into the Grinch, make sure that your call times give your actors at least 30-60 minutes of leeway for before they are needed on set. There’s nothing worse than having to delay your shoot because makeup is taking too long to apply.

In general, treat makeup like a location. Take a tour with your makeup needs from scene-to-scene from the least complicated to the most complicated.

Stunts (or even hazardous shots) complicate any shoot. With that in mind, it’s important to get the right stunt coordinator first so that you can be aware of the safety requirements for each stunt. Then, if you have more than one stunt plan them in order accordingly (just like locations and make up) from the least intensive to the most. Stunts are dangerous, so it’s important that you get the main content for your ad first.

If your actor gets injured to the point that he can’t act anymore then, there goes your entire day if you filmed the riskiest stunts first. It’s easier to schedule a couple hours of pick up shots than an entire day to reshoot the whole commercial if an actor ends up out of commission due to a failed stunt.

The size of your crew affects to how fast you can move on set. Big crews move slower between shots. Small crews move faster but may not have enough manpower to do everything that they need to. Make sure that the size of your crew is equal to the task at hand.

If you ever anticipate having to do two jobs on set at the exact same time, then you need more people. Make sure that your crew members know their stuff, though. The better someone knows their craft, the faster they are and the better quality they will produce.

Weather is a beast. You can make tentative plans to film out a month in advance, but unless you know that everything will be indoors you are still gambling with your schedule. You can start looking up the weather for a location on Google up to two weeks in advance.

If the weather is vital to your shoot, then plan out multiple possible shoot dates and go with the one that best fits the weather. Plan them anywhere from a couple of days to a week apart. Just make sure the last day that you could possibly shoot will still give you enough time in post to deliver the video ad on time. Plan on shooting on the first date possible and then move back in order according to how soon the weather lets up.

Once you’ve created a filming schedule that covers all of your bases, you’re just about ready to film! All you need is the right filming equipment.

Great video ads need a great ad idea and great video equipment—if you don’t have the right gear, your ad isn’t going to deliver the value you’re hoping for. Since identifying the right equipment can be a challenge (especially if you don’t have prior experience with film), let me walk you through a few good options to consider

For this article, I’m going to assume that your budget is pretty limited. Don’t worry, you can still make a decent video ad on a budget, it just takes a little more blood, sweat, and tears. Cheaper equipment will require a lot more out of you, but not your wallet.

If you’re looking at doing things for the cheapest price possible, I would recommend using an iPhone 7 Plus. I recommend the 7 Plus because it has different camera aperture sizes, one smaller and one larger, which will enable you to get more variety into your shots (think wide shots as opposed to close-ups).

The iPhone 7+ (right) has two camera apertures, while the iPhone 7 (left) has only one aperture size.

This video should give you a good idea of what those differences look like (and look to about 38 seconds to 45 seconds for a good close-up to wide shot).

No matter what you’re filming, you’ll want at least a wide and close-up lens option from your camera like the ones included on the iPhone 7 Plus. Don’t just zoom in on your camera please, you probably won’t like the quality of shot you get from it.

That being said, there are external lenses you can buy and attach to your phone to give you different lens options, but I’ve heard it on good authority that those are all pretty much junk. Don’t waste your money on them.

If you already have a phone with a good camera on it, great. Get the right app for it so you can manually adjust your settings, because just filming on your auto settings won’t look anywhere near as good. I would recommend Filmic Pro. It’s only $10 bucks and give you some pretty great control of your camera settings.

Next up, you’ll want to make sure you can get some good audio. You can use either a lavalier mic from Rode ($70+an app) to record from your phone (if budgets are super tight) or you can get a Tascam DR-40 digital recorder for under $150. Remember, what you need will depend on the kind of video you’re doing.

Rode Smartlav Mic

If you will be doing a talking head” sort of video, the Rode mic will work great, but if you want to film other kinds of commercials, you’ll probably want the Tascam. You can put it at the end of a pole and get it close and use it almost like a boom mic, which will give you more versatility with your audio.

Lastly, you will definitely want to invest in some decent lighting equipment. At a minimum, I would suggest a softbox lighting set like this one that will let you do some three point lighting. It’s about $120 and it should get the job done in most cases.

Softbox Lighting Set

This video has some basic lighting tips, and will show you at the most basic level what bad lighting or good lighting looks like.

https://www.youtube.com/watch?v=QSWxkaRN4RY

How your subjects are lit will be a huge determiner of the end quality of your video, whether you’re filming people or objects.

Remember, you’ll need a way to get power to all of these lights, so you might want to get a cheap power strip and maybe some extension cords to make sure they always have power.

As far as camera, audio and lighting goes, this is about as basic as it gets. However, you’ll probably want some equipment to stabilize your shots like a tripod (which will definitely make your life easier, just find one with a phone attachment) and maybe a 3-axis gimbal ($300) if you’re wanting nice, smooth looking shots (think of it as a tripod you can move around).

DJI Phone Gimbal OSMO

In addition, one thing people often forget is that you need somewhere to store your footage. High-quality video footage takes up a ton of space, so you’ll want an external storage drive to keep all of your video footage. For video storage the MyPassport 1TB external hard drive. That should hold you over if you aren’t planning on doing a lot of filming, and it’s only about $60.

Other than that, factor in the price for memory cards, extra batteries (or external batteries) and you’ll be looking at near $1,000 if you already have the camera phone you want.

All of this equipment will help give you a decent quality of video on a pretty low budget. If you want better equipment and have some extra cash around, check out this article for additional recommendations based on your budget.

If you’ve taken the time to think through everything you’ll need on filming day and create a great script, storyboard/shot list and filming schedule, actually filming your video ad should be the easiest part of the whole process!

Now, don’t get too excited, filming will be a long, arduous process with lots of takes and retakes, adjusting equipment and putting out fires (hopefully not literally), but we’ve already covered most of what you can expect in our planning steps. If you have the right people on your crew, actually executing on your plan should be fairly straightforward, so we’ll move on to the editing process.

Once you actually have your footage, it’s time to head to the editing room and cut your video ad together.

There are a variety of free video editing programs you can use to edit your footage, but I personally prefer the power and usability of a program like Adobe Premiere Pro or DaVinci Resolve. These programs take a little more effort to learn, but they deliver a much more professional result.

As you edit your footage, you’ll want to make sure that the color grading between your shots is consistent. To help you with that, here is a great tutorial on color grading in Premiere Pro:

Most video editing software will come with a variety of color grading presets, so if you’re not particularly artistic, you can always use those presets to ensure that your footage looks consistent (and consistently great). It’s not quite as good as grading it yourself, but it will do the trick.

However, the biggest problem most people who are creating their first video marketing campaign struggle with is actually editing their content to create a compelling commercial. With that in mind, let’s take a look at 3 critical areas you need to pay attention to while editing your video ads.

When it comes to video marketing, audiences get bored if there is not enough happening on screen. Most of the time, you either need something really interesting taking place on screen or the dialogue of the actors needs to be compelling. You typically only have around 30 seconds to get your message across (at best!), so don’t waste it.

Quick cuts between lines of dialogue can help get the same amount of content out in a faster time. For example, if you are creating a video ad where two people are talking, you can start the audio for the second person while the video of the first speaker is still ending. That way, people are already engaging with the second person on screen before they even see their face.

Quick cuts allow you to cut out shots of the second person reacting to the first person’s speech while leaving in the first person’s reaction to the second person’s beginnings. It feels unnatural at first, but go watch any television show and you’ll see that they use this trick all the time. TV shows have to keep the momentum going because they only have 22-45 minutes of airtime.

Let’s be real though, you can only work with what you are given. If your actor is talking way too slow while you are shooting the commercial, you may not have the right material in post to work with. So, keep the momentum of the final piece in mind when you are filming in the first place.

Remember that “hook” you worked so hard to script out? In video ads, you usually have about 5 seconds to hook your audience and make them want to watch the rest of your video. This is especially true on YouTube with skippable ads, where YouTube literally helps your audience count down the seconds to when they can turn off your ad.

You’ll notice that movie commercials and YouTube Vloggers have been starting to use a tactic in order to get you to watch their whole video. They’ll put a small preview of all of the action or the biggest part of the controversy at the very beginning to entice you to watch the whole thing. I call this baiting.

Here’s an example of baiting.

Baiting is super effective because audiences want to put what they’ve already seen into context. They think they’ve seen something potentially amazing and want to see if their assumptions are actually true.

Baiting your audience generally works best when you have a video ad around a minute or longer that you are afraid that people won’t want to watch if they just watch it from the beginning. Just make sure that you have the content to back up your bait, otherwise your audience will be feel tricked.

There’s a little thing that happens when you are the one the wrote or directed a video. You ego gets huge and you think that all of your ideas are great. You feel that all of your concepts are a must for the final cut. This happens to everyone.

However, sometimes an idea just doesn’t pan out in the editing room. Maybe it’s not as funny as you thought it would. Maybe the delivery was poor. Maybe you didn’t get a good angle during filming.

Whatever the reason, sometimes you just need to cut something.

Cutting a piece down can be a process, so ask yourself “can I get to the punch line by cutting out material and have it give the same message?” If you can, there’s no reason why you shouldn’t. People respond to well crafted messages that get right to the point.

Remember, you are editing an ad not an epic feature. Cutting things down to the bare bones will often streamline the humor or message. Yes, you might have to give up on some of your favorite ideas in order to get the job done, but it’s always a good idea to get rid of dead weight in your ads.

Finally, once you’ve cut your footage together and color graded everything, you’ll want to find some good music. Video marketing is a multimedia experience, after all, so the right music can have a huge impact on your ad performance (especially on YouTube).

Fortunately, there are countless sites where you can buy royalty-free music to use in your ads like AudioJungle or PremiumBeat. It may take some searching to find just the right music, but it’s well worth the effort.

And that’s it! You’ve just created your first video marketing ad. Now all you have to do is upload it to YouTube or Facebook and start running your new campaign. We won’t get into that here, but if you’d like an in-depth guide to YouTube advertising, check out this article.

By the way, if you’re feeling a little out of your depth and would like some help with scripting, filming, editing or any other part of the video marketing process, let me know here or in the comments. I’d love to help!

What are your thoughts on video marketing? How do you think video marketing will affect the future of online advertising? Do you have any helpful video marketing tips to share? Leave your thoughts in the comments!

Author

Over his career, Aden has developed and marketed millions of dollars of successful products. He lays awake at nights figuring out new marketing tactics and is constantly upping Disruptive's internal marketing game. He loves to write, dance and destroy computer monitors in full medieval armor.

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