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April 23, 2017
‘Gemini Man’: Ang Lee Might Direct ‘Game of Thrones’ Showrunner David Benioff’s Sci-Fi Script
Here’s a pairing that probably never occurred to you: Ang Lee and David Benioff. Variety reports that the two-time Best Director winner is in talks to direct the sci-fi-action film “Gemini Man,” which has been in one stage of development or another for a full 20 years. The most recent iteration would have seen “L.A. Confidential” director Curtis Hanson working with a script from Benioff, the co-creator and -showrunner of “Game of Thrones.”
Lee, who won the Academy Award for Best Director for both “Brokeback Mountain” and “Life of Pi,” most recently directed “Billy Lynn’s Long Halftime Walk.” “Gemini Man” follows an aging NSA agent whose retirement plans aren’t received well — he ends up being targeted by an assassin who just so happens to be a younger clone of himself.
Benioff previously wrote “The 25th Hour,” later adapting his novel for Spike Lee’s celebrated film version starring Edward Norton. Negotiations for “Gemini Man” — which, back in 1997, was to be directed by the late Tony Scott — are said to be in the early stages.
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Source: IndieWire film
April 23, 2017
Barry Jenkins and Tarell Alvin McCraney Return to Liberty City for ‘Moonlight’ Celebration
For the first time since their surprise Best Picture win, Barry Jenkins and Tarell Alvin McCraney returned to Miami’s Liberty City neighborhood together yesterday. The “Moonlight” co-writers were in their hometown to celebrate the renaming of a local street to Moonlight Way, being greeted by hundreds to mark the occasion.
“There’s nothing special about me,” Jenkins told the crowd gathered in front of the African Heritage Cultural Arts Center. “I’m just an average brown boy from Liberty City who worked really hard. I hope it shows that you could do this, too.”
READ MORE: Miami Street to be Renamed After ‘Moonlight’
The two shared the Academy Award for co-writing “Moonlight,” whose Best Picture win was among the most shocking moments in Oscar history. “I can only echo Barry, as usual,” said McCraney. “I can only add that the only thing unique you can bring is you. If you bring your full self, it will be special.”
Though the two grew up within a few blocks of each other, they didn’t know each other as children. McCraney’s unproduced play “In Moonlight Black Boys Look Blue” served as the basis of the script they wrote together, which is set in Liberty City.
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Source: IndieWire film
April 23, 2017
‘Citizen Jane’ Tops New Limited Releases, and ‘Lost City of Z’ Makes the Top 10
Two specialized releases made the top 10 this week: “Gifted” (Fox Searchlight) came in #8 with $4.5 million, while the second weekend of “The Lost City of Z” (Bleecker Street) managed to place 10th in only 614 theaters.
Specialty distributors are pushing their films to more theaters; at nearly 2,000 theaters in its third week, “Gifted” is a wide release. This strategy doesn’t always work: A24 went to over 1,000 theaters initially for “Free Fire” with Brie Larson. It flopped across the board despite its pedigree.
Documentaries continue to stand out among niche limited openers. “Citizen Jane: Battle for the City” (IFC) scored a strong New York two-theater response despite its parallel VOD option. And food scored again as “Jeremiah Tower: The Last Magnificent” (The Orchard) worked with targeted marketing in its first two cities.
Opening
Free Fire (A24) – Metactritic: 64; Festivals include: Toronto 2016
$1,040,000 in 1,070 theaters; PTA (per theater average): $972
Clearly a disappointment considering its pedigree — A24 with Brie Larson and other established actors, a rising young director (Ben Wheatley). The latter makes films that seem ideally matched for A24’s edgy, youth-oriented sensibilities. But this British made, Boston warehouse-set shoot-em-up was initially slated with Alchemy; when that company went under, A24 also landed “The Lobster” a year ago. It made sense for A24 to release the film Brie Larson made after “Room,” which they oversaw during its Oscar run. With good reviews at its Toronto premiere last September, they decided to go for a nationwide break. It didn’t work out, even in the wake of Larson’s turn in “Kong: Skull Island.” Any hopes of an immediate turnout were dashed by a four percent Saturday drop.
What comes next: This will be a tough sell to hold a second week, though it could find life ahead in streaming play options.
Citizen Jane: Battle for the City (IFC) – Metactritic: 71; Festivals include: Toronto, Doc NYC 2016; also available on VOD
$33,760 in 2 theaters; PTA: $16,880
Jane Jacobs was an essential opponent to mid-century plans to further level Manhattan by government fiat for urban development. Though it has strong local appeal, this is still an impressive performance, even before adding the competition from VOD options.
IFC pulled off the impressive achievement of a $2.5 million gross for another documentary, “Weiner,” which also had immediate home viewing availability. It opened in five theaters to a similar $17,000 PTA, along with its New York-based story. This one has mostly location overlap in terms of interest, but this level of gross for a day-and-date release is impressive.
What comes next: Los Angeles opens this Friday with other big cities added throughout May.
Jeremiah Tower: The Last Magnificent (The Orchard) – Metactritic: 68; Festivals include: Hamptons, Mill Valley 2016
$24,068 in 2 theaters; PTA: $12,034
This documentary about a pioneer of late 20th century California cuisine has Anthony Bourdain among its producers. It opened initially on both coasts; like similar food-oriented docs it found some immediate interest, although not at the same level of “Jiro Dreams of Sushi” (which opened in two theaters to $42,000 in 2012). The Orchard has developed ties with professional chef groups including pre-sales (specifically targeted at Sundays, when many don’t work, which is why the three- day estimate shows Sunday’s gross as good as the earlier two days of the weekend).
What comes next: This subject is popular in many urban areas, so expect positive response to continue as this expands.
The Happiest Day in the Life of Olli Maki (MUBI) – Metactritic: 83; Festivals include: Cannes, Toronto, AFI 2016
$(est.) 12,500 in 4 theaters; PTA: $(est.) 3,125
A rare theatrical release backed by the streaming subscription movie service, which offers esoteric repertory programming, this black-and-white Finnish biopic about a colorful and unlikely 1960s boxing champion opened in New York and Los Angeles. The response was not up to the reviews, similar to so many subtitled films these days, but it showed improvement with Saturday more than doubling Friday’s gross.
What comes next: MUBI plans a conventional theatrical release before its eventual streaming availability for its subscribers.
Slack Bay (Kino Lorber) – Metactritic: 66; Festivals include: Cannes 2016, Rendezvous With French Cinema 2017
$(est.) 7,000 in 2 theaters; PTA: $(est.) 3,500
French director Bruno Dumont is a two-decade veteran with more critical than domestic commercial success. He has a past relationship with Kino Lorber, once again handling his latest. A period coastal farce that premiered at Cannes last year, it opened at two high-end New York locations to minor initial response.
What comes next: Los Angeles opens on Friday.
Let It Fall: Los Angeles 1982 – 1992 (ABC) – Metactritic: 92; Festivals include:
$(est.) 2,700 in 2 theaters; PTA: $(est.) 1,350
John Ridley’s documentary on the 1992 LA riots got a New York and Los Angeles limited run in two theaters in his 145-minute version. This makes it Oscar eligible, buttressed by high-end reviews. The business (virtually nonexistent) wasn’t the point.
What comes next: A shorter version appears on ABC this Friday night.
Grow House (Independent)
$(est.) 300,000 in 624 theaters; PTA: $(est.) 481
Snoop Dogg appears in this independently made pot comedy directed by Mark Jordan, a frequent Ice Cube music collaborator. It was released nationally with some targeted marketing, but looks like it missed its mark. Saturday dropped 41 percent from Friday.
What comes next: Little room for growth.
Week Two
The Lost City of Z (Bleecker Street)
$2,147,000 in 614 theaters (+610); PTA: $3,497; Cumulative: $2,298,000
An aggressive second-weekend expansion for this Amazon exploration story (ifrom Amazon Studios) place 10th overall. That could give it sufficient traction to grow and find a place among several adult-oriented films currently competing for attention.
Norman: The Moderate Rise and Tragic Fall of a New York Fixer (Sony Pictures Classics)
$136,818 in 18 theaters (+13); PTA: $7,601; Cumulative: $272,253
A decent second weekend for Israeli director Joseph Cedar’s first American film. With Richard Gere and the film getting continued acclaim, it should have an audience as it expands further, though it could be a slow build as it takes time for word of mouth to grow. In the meantime, this is the best second-weekend performance for a limited SPC release since “Miles Ahead” over a year ago.
A Quiet Passion (Music Box)
$78,000 in 13 theaters (+7); PTA: $6,000; Cumulative: $155,417
Terence Davies’ latest drama (with Cynthia Nixon as Emily Dickinson) added Los Angeles to its initial New York and Boston dates. The PTA only went down a small margin, which suggests steady interest in the film as it expands. That will continue this week, with its subject potentially finding nationwide interest among specialized audiences.
Tommy’s Honour (Roadside Attractions)
$75,500 in 89 theaters (-78); PTA: $849; Cumulative: $406,605
A big drop from a weak start for this golf biopic set in Scotland a century ago that won’t make it to week 3.
Chasing Trane: The John Coltrane Documentary (Abramorama)
$23,989 in 3 theaters (+2); PTA: $7,996; Cumulative: $50,485
The jazz legend continues to interest fans in the second week of this well-received documentary. Los Angeles added to New York to similar decent initial response.
Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters +1)
The Zookeeper’s Wife (Focus) Week 4
$1,472,000 in 1,029 theaters (-28); Cumulative: $13,236,000
This is the spring release that so far has come closest to last year’s top upscale successes “Eye in the Sky” and “Hello, My Name Is Doris.” It looks like it will fall a little short of “Eye” (which came close to $19 million) and only a bit more than half of “Woman in Gold,” which had exactly the same pattern and appeal two years ago, but it has been a clear success for Focus. Going outside the awards calendar has worked for them.
Colossal (Neon) Week 3
$584,631 in 211 theaters (+113); Cumulative: $1,358,000
Another significant theater jump for this genre hybrid that continues to gain some interest but is not responding as well as it broadens as its initial weeks. The younger audience is not easy to reach.
Their Finest (STX) Week 3
$555,000 in 176 theaters (+124); Cumulative: $1,139,000
A big jump in theaters for this London-set World War II drama with Gemma Arterton is getting continued attention, but it’d falling short of the response that other older audience films have received. It will expand further this weekend.
Your Name. (FUNimation) Week 3
$(est.) 320,000 in 165 theaters (-127); Cumulative: $(est.) 4,058,000
This massive worldwide Japanese animated hit is having a respectable niche run in the U.S. as it continues to play nationwide.
La La Land (Lionsgate) Week 20; also available on Video on Demand
$88,000 in 148 theaters (-71); Cumulative: $151,047,000
Still getting dates long after its Oscars and now with home viewing an option, the domestic total is only about a third of its worldwide take.
T2: Trainspotting (Sony) Week 6
$80,000 in 160 theaters (-171); Cumulative: $2,212,000
To be blunt, this is a staggeringly weak performance for the sequel to Danny Boyle’s breakout success. Though it wasn’t likely to repeat the strong showing of the 1998 original nor what this did in the U.K., Sony never found the right formula to make it work here.
Frantz (Music Box) Week 6
$55,000 in 58 theaters (-50); Cumulative: $706,107
Francois Ozon’s latest French drama looks like it could still hit $1 million, an increasingly rare accomplishment for a subtitled film.
Kedi (Oscilloscope) Week 11
$51,000 in 48 theaters (-39); Cumulative: $2,461,000
This cat continues to live a long life as its unexpected success continues.
Also noted:
Lion (Weinstein) – $49,600 in 82 theaters; Cumulative: $51,621,000; also available on Video on Demand
Graduation (IFC) – $19,992 in 14 theaters; Cumulative: $66,902
Personal Shopper (IFC) – $17,160 in 33 theaters; Cumulative: $1,225,000
Kedi (Oscilloscope) – $ in theaters; Cumulative: $Raw (Focus) – $12,065 in 17 theaters; Cumulative: $485,834
I Called Him Morgan (Submarine Deluxe) – $8,554 in 9 theaters; Cumulative: $97,711
Source: IndieWire film
April 23, 2017
‘Dark Phoenix’ Confirmed as the Next ‘X-Men’ Movie
The phoenix is once again rising from the ashes. 20th Century Fox has confirmed that the follow-up to last year’s “X-Men: Apocalypse” will be “Dark Phoenix,” which is due in theaters on November 2, 2018; also on the studio’s superhero docket are “New Mutants (April 13, 2018) and “Deadpool 2” (June 1, 2018).
READ MORE: ‘Logan’ Review: Hugh Jackman Saves The Best Wolverine Movie For Last
Centered around the powerful mutant Jean Grey, AKA Phoenix, the storyline was previously the focus of 2006’s poorly received “X-Men: The Last Stand.” Famke Janssen played Grey in the original trilogy, while Sophie Turner of “Game of Thrones” now portrays the iconic mutant. Writer/producer Simon Kinberg previously told Entertainment Weekly that he “definitely would love to take another stab at the Dark Phoenix story.”
“The seeds of Phoenix definitely are planted in [‘Apocalypse’],” continued Kinberg. “She can’t control her powers unless she either fully stops them or lets them all loose, and that’s kind of Phoenix. I think in future movies to come we’ll definitely see a bit more of that.”
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Source: IndieWire film
April 23, 2017
‘Wonder Woman’ Director Patty Jenkins Wants to Help a Woman Battling Stage IV Cancer See the Movie Early
Every so often, the internet isn’t terrible. The latest example of social media being used as a force for good comes from Twitter, where a woman named Karyn Bradley has been attempting to help her cancer-stricken sister see “Wonder Woman” early. Following a tweet from Patty Jenkins, the upcoming superhero film’s director, it seem she may get her wish.
Melissa Bradley has stage-IV ovarian cancer, prompting her younger sibling to start the #melswish hashtag. Through persistence and some help along the way, her plea — “she’s waited her entire life for a #WonderWoman movie. She’s stage 4 now, #melswish is to see it,” which she directed at DC Comics and Jenkins — eventually caught the director’s attention: “Hi Karyn. Want you, and all those forwarding, that I’ve been trying hard all week to figure this out. We want her to see it too!! Standby…,” Jenkins tweeted back at Bradley.
READ MORE: Every Studio Film Directed By Female Filmmakers Coming Out Over the Next Two Years
Similar online campaigns have succeeded in the past, including for Pixar’s “Up.” “Wonder Woman,” which stars Gal Gadot in the title role, is due in theaters on June 2.
@DCComics @PattyJenks she’s waited her entire life for a #WonderWoman movie. She’s stage 4 now, #melswish is to see it pic.twitter.com/Op4emWOuzW
— Karyn Bradley (@KLBChicago) April 21, 2017
Hi Karyn. Want you, and all those forwarding, that I’ve been trying hard all week to figure this out. We want her to see it too!! Standby… https://t.co/o3VjvwNa5V
— Patty Jenkins (@PattyJenks) April 22, 2017
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Source: IndieWire film
April 22, 2017
What is Interactive video? Why now? And how to get started?
Are you creating videos as part of your marketing strategy?
A recent study from Vidyard found that businesses are now creating an average of 18 videos per month. So most likely your are. Especially, if you’re also aware of Cisco’s recent prediction that 84% of Internet traffic will be video by next year. With all this exciting video action, there is one thing I can tell you with almost complete certainty: people are not watching your videos. I may be wrong. You may be Wes Anderson (in which case: Hi Wes! No need for you to keep reading, but please do drop me a line). But if you’re like most video producers, your creations have these two things in common:
- They are meant to promote a product or service
- Their drop-off curve is steeper than the North Face of the Matterhorn (one of the highest summits in the Alps and Europe.)
That’s the challenge of the day: faced with an abundance of content, and accustomed to multitasking, viewers will not stick around for your 5-minute presentation of whatever it is you’re selling.
A typical retention curve for a video on Facebook. Most of the users drop off after the very first seconds of the video.
I’ll argue in this article that what is needed is redefining the meaning of interactive video. I’ll also argue that interactive video has been done wrong in most if not all the previous attempts. Then I’ll demonstrate how interactive video can be effectively executed. Hopefully, when we get there, you’ll understand why marketers should pay more attention to interactive video in their campaigns.
What is interactive video?
A truely interactive video offers users a non-linear navigation experience, supported by embedded digital resources (e.g., images, videos, text bubbles, links, online forms etc.) for users to learn more.”
Interactive video is a concept that has been floated around, in many incarnations, for a very long time. Google it: there are some 45 million results right now. Nor is it a concept that originated on-line: I remember seeing a screening, at the Neuchatel International Film Festival, of Mr. Sardonicus, a 1961 movie whose projection was interrupted a couple of minutes before the end so that the audience may vote on which ending they preferred, good or bad — limited interactivity, yes, but interactivity nonetheless. There is also the work of Eko Studio for brands that follows the same logic and allows users to choose their storytelling adventures, as shown in this interactive Aldo spot.
The elephant in the room is really the “why”. Why would a film need to be interactive? After all, the main medium we think about when we think about the film is motion pictures. While there have been attempts to make these films interactive, such as the Mr. Sardonicus example above, most film lovers would agree that such gimmicks could hardly contribute to the purity of a classic cinematic experience.
To answer this question, let’s take a step back and consider what is the definition of a film: a sequence of still frames which create the illusion of movement. As such, a film captures a fragment of reality, from a certain point of view.
However, any movie has two constraints, imposed by its function as a time capsule:
- Time linearity: the film goes from beginning to the end, and at a certain speed. There may be ways to fast-forward or backward, but these are mere navigation aids: the film is expected to be watched mostly linearly
- Constant depth: a film has no footnotes, no further readings. The audience is presented with a certain content and cannot choose to go more in-depth at some point (unless they consult their smartphone, which at that point they need to be super intrigued)— nor, skip over to other points in the film, thanks to our friend linearity above.
These two constraints define the style of motion pictures; however, there are many other applications where these are problematic: think about product presentations, tutorials, or virtual tours. In these use cases, different users will be interested in different aspects of the content; presenting a linear video will frustrate every single user at some point, by going too fast or too slow, presenting too much or too little detail. Just think about last time you tried to learn to do something with a YouTube tutorial…
How is interactive video currently done?
Most companies that are doing interactive video right now are all doing one and the same thing: adding interactive contents on top of a regular video. This addresses the depth constraint mentioned above: the user can now choose to get more information about a particular point of the experience – think YouTube Annotations, where video producers can add a layer of text labels, links, and hotspots over a video. However, and critically, this leaves the video as a linear, passive medium.
This can’t work, for the same reason why Web carousels don’t work: adding interactivity on top of a content which transforms passively will lead to the viewer missing things, having to scramble to interact with these contents, or just being bothered by this activity. In short: adding interactivity on a passive medium does not make it interactive, it just makes it awkward.
Why does everyone do interactive video the wrong way?
I believe the cause for this state is what Paul Graham called schlep blindness: a certain propensity to simply ignore the hard problems. The depth problem is the easy one to solve: anyone with a basic knowledge of Web development can whip up in a matter of minutes an MVP of a video on top of which interactive contents pop up.
Breaking the linearity of video, on the other hand, is much more challenging. Video players and video encoding formats are optimized for one purpose: to display one image after another, sequentially. Most Web video formats can’t even handle playing backward in an elegant way.
How can interactive video be done right?
Tackling both linearity and depth requires an entirely new approach to both how video is encoded and how it is played. Visual storytellers now can develop an experience that offers audiences 3 ways to consume the content: a) Solving linearity: they can use content markers to jump to any point in the video and b) Solving depth: they can learn more about a particular point in the video, leveraging embedded interactive resources (e.g., links, images, info bubbles, online forms etc.) that are overlaid on the video experience. And c) Going classic: for those video purists, they can still watch the passive video experience.
Why should marketers care?
By allowing free navigation in video content, we’re allowing every user to choose his level of engagement, not coercing them into one. A user can have a quick overview of the entire video in a couple of seconds or can go in-depth on any one point which is relevant to them. As such, users have the full freedom to select their own pace of content consumption.
For marketers, this level of visual storytelling modularity provides a rich canvas to execute wide range of visual narratives where they put the viewer in the driving seat of the experience; from transforming an entire e-commerce site into an interactive store tour, interactive video explainers, Interactive video tutorials, interactive product demos, interactive customer testimonials, interactive thought leadership interviews and much more.
In all of these use cases, marketers can create an always-visible hyperlinked table of content so your viewers can jump immediately to their point of interest and at each point in the video add extra digital resources to deepen their engagement.
Intrigued?
Join me on Visual Storytelling Today live show on April 27th @ 10:30 AM ET, as I’ll share more of my perspectives about interactive video, video marketing and my journey entering the space. Register for FREE here.
Source: Visual Storytelling
April 21, 2017
WORLDZ: The Marketing Summit Of Industry Titans Comes To LA
This summer, the creators of PTTOW!, have set up the perfect cultural marketing summit with the world’s top innovators and dreamers. WORLDZ, which will be in Los Angeles between July 31 and August 1, is a 360-degree immersive experience featuring more than 70 speakers including Shaun White, Kelly Slater, and Gary Vaynerchuk.
WORLDZ will bring the most influential minds and brands from around the world together in one place where attendees can learn about various strategies and create life-changing partnerships.
PTTOW! and WORLDZ co-founder and CEO Roman Tsunder described the event as so:
We are scouring the earth looking for the innovators, the dreamers – and the rule breakers who are shaping the world of tomorrow. We are creating a year round community and summit uniting leader and global brands, start-ups, and tech companies along with artists and creators to learn and take action to do the NBDB (Never Been Done Before).”
Attendees will be able to participate in various events such as curated one-on-ones, take master-led courses and workshops, and listen to keynote speakers on the mainstage. This year’s summit is a follow-up to WORLDZ, Chapter 1 – The Maiden Voyage that took place last August and featured industry leaders such as Tony Hawk, Kaskade, and Quincy Jones. Check out the recap video to get an idea of what is in store this year:
Apply here to attend this year’s summit.
Source: Visual News
April 20, 2017
Filmmaker In Focus Series: Texas Filmmakers Part One
Our next Filmmaker In Focus features two accomplished Texas filmmakers Sandra Adair and Karen Skloss. The Secret Life of Lance Letscher marks Adair’s directorial debut. She is an Academy Award nominee for her work on Richard Linklater’s SXSW alum film Boyhood after editing 18 of Linklater’s films over 22 years to great acclaim. Writer/director/editor Karen Skloss is also an award-winning filmmaker with work shown on HBO, in MOMA, in wide theatrical release and in film festivals internationally. Her feature doc Sunshine premiered at SXSW in 2009. The Honor Farm is her first narrative feature as director. Learn more about these exciting projects below:
The Secret Life of Lance Letscher
Q: Tell us a little about your film?
A:“The Secret Life of Lance Letscher is a deeply intimate and psychological portrait of internationally known, and Austin based, collage artist Lance Letscher. As we journey inside the studio and inside the mind of Lance Letscher, the artist’s inner life is revealed. Told through memories of trauma and triumph, the film provides intimate access to Letscher’s profound insights on creativity, the subconscious, work ethic and spirituality. Through his intricate artistic process, we witness Letscher’s unwavering determination to stay in the moment—free of mind, thought and preconception. Featuring detailed images of more than 100 of Letscher’s collages, sculptures, and installations, viewers are given poignant insights into Letscher’s methodical techniques and come to know this profoundly interesting and insightful artist.”
Q: What motivated you to tell this story?
A: “Initially, I was motivated to follow Lance as he took on a new medium, metal, for a commissioned piece to hang in Austin’s South Congress district. Lance is known for his intricate and beautiful paper collages and I wanted to document this transition. But, as I came to know Lance, an intense and thoughtful man, he revealed his profoundly moving personal story with a poetic ability to articulate his ideas about creativity and the subconscious. I was struck most of all by his evolution as an artist and how his tumultuous life was reflected in the work.”
Q: Tell us a random fact?
A: “I’ve always been interested in art, attending art school in college until I dropped out to become an assistant editor. I have 2 grown kids and a sweet grandson who I am intent on teaching to appreciate art and creativity. I’ve cut 20 films for Richard Linklater and this is the first film I’ve directed.”
The Honor Farm
Q: Tell us a little about your film?
A:“When Lucy’s prom night falls apart, she finds herself jumping into a hearse headed for a psychedelic party in the woods. Looking for a thrill, the party wanders deeper into the forest, to a haunted prison work farm. A secret wish and a summoning of the dead sends the group on a mind-bending trip that may be a dangerous trap.”
Q: What motivated you to tell this story?
A: “When I was a teenager, a handful of powerful experiences really set the stage for the rest of my life and who I would become. I wanted to make a film that captured a bit of that magic – so I set out to make this freaky art thriller for young adults and the young at heart.”
Q: Tell us a random fact?
A:“I’m a drummer and play with the band Moving Panoramas. I used to teach preschoolers how to swim.”
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Source: SxSW Film
April 20, 2017
Column Five’s New Video Reel Is Ready For You To Watch
This article originally appeared on Column Five.
We’ve talked a lot about the rise of online video, so it’s no surprise the medium has become one of the best go-to storytelling tools for content marketers. Whether you want to dazzle a crowd with a slick motion graphic presentation, give a product overview with a helpful explainer video, or throw a fun video up on Instagram, there are plenty of applications.
We love helping our partners tell their best stories through video, and in recent years we’ve had lots of opportunities to create video. To celebrate that work and give you a glimpse of what video can really do, we’ve compiled a fresh video reel. From Microsoft to Totino’s, motion graphics to viral spots, it showcases the variety of video work we produce.
If you’ve been looking for some brand video inspiration (or didn’t know we do video at all), take a look.
Looking for a creative partner to help you produce your next video? Check out our tips for finding the right video agency and getting the best work from your partnership.
Source: Visual News
April 20, 2017
Sony Announces the A9
Sony’s just announced a new phenomenal Sony Alpha a9 Mirrorless Digital Camera and this is the planet5D Wrap-up of all the news we could find… one …
Source: CW’s Flipboard Feed