Eric Satterberg is an actor who you may recognize from “This Is Us,” “Shameless,” and “Silicon Valley.” His talk covers three tips including self submitting for auditions, keeping an audition journal, and setting goals. This took place at FWD:labs Salon #73 on March 22, 2018 at Kleverdog Coworking in Los Angeles, California.
Tim Hare is a composer and musician who has worked in production music and licensing for a number of years. His talk entitled “Get Me That Sound” taps into three tips on finding the perfect audio for your project alongside what pitfalls to avoid. This took place at FWD:labs Salon #72 on February 9, 2018 at Kleverdog Coworking in Los Angeles, California.
Some fun facts about the Justin Timberlake “Say Something” video featuring Chris Stapleton, which was all live with no cuts:
- The director, Arturo Perez Jr. of the Paris-based collective called La Blogothèque, hoped to do something purely acoustics, and the musicians agreed. The “concert” ended up taking “17 musicians, 60 choristers, five floors, two elevators, one camera and many microphones … shot live in the prestigious Bradbury Building in Los Angeles.” [Source]
- All one take on Panavision C Series anamorphic, DP’d by Bill Kirstein and “ninja” operated by Ari Robbins, SOC (who did Steadicam on “La La Land”) [Source]
- According to Ari himself, the lens was a “42-425 with an ARRI [Alexa] Mini. Focus puller was Jenna Hoffman,” who obviously did an incredible job as well. [Source]
- One of the members of the collective, “Clumsy,” tweeted that the earpieces “were only there for them to hear each other as there were 17 musicians on 5 different floors.” [Source]
- Pre-production took two weeks: “I walked the Bradbury Building for two and a half days—just walking through it like a crazy person. We walked and walked and talked about it,” Perez says. “What we didn’t want to happen was for this to just be a Justin Timberlake one-take video gag. We’ve been doing this for a while, and we don’t get high off of doing a one-take video. We get high off of creating poetry.” [Source]
- Camera rehearsals surely aside, according to Justin Timberlake (and the slate at the end), it wasn’t just one shot, the video was done in just one take. [Source]
Watch it here:
John Goraj “Adventheart”
We recently produced a music film for a singer-songwriter from South Dakota. It was great to make some visual poetry for his latest album release.
Viral Marketing Videos for Purple, Squatty Potty, and Dollar Shave Club
In an era of social media newsfeeds, what spots make you react, share, and comment? We found a few that blew up and got a lot of positive attention.
Behind the Controversial Budweiser, Audi, and 84 Lumber Super Bowl Ads
Some of the 2017 Super Bowl ads were especially polemic, getting a rise out of lovers and haters, which certainly gets their efforts more memorability and air time — but how about customers?
Website for Allan Havey
We had the opportunity to work with Allan Havey, one of the best stand-ups working today. You also may recognize him as “Lou Avery” from AMC’s highly acclaimed MAD MEN.
Brand spot for Silk Way West Airlines
We did all the post on a series of five spots filmed by Wolfe Air Aviation, giving us an opportunity to work with Boeing. Needless to say, we were on cloud nine.
Proof That Money Isn’t Everything
Guest writer Jackie Lam penned a series of tips for freelancers, ranging from saying “no” to ways to stay distraction-free to focus on the task at hand.
Put a Stake In It: 5 Tips for Building Tension in Your Stories
Guest writer Andrew Lindermann knocked another one out of the park with his story-forward tips that apply to all, using the horror film “Carrie” as an example.
We Need an Open Internet
Our two cents before the FCC voted to dismantle Net Neutrality.
How We Run Facebook Ads
Our most popular article of 2017 explored how we analyze data for clients to make Facebook’s messy advertising stats a little easier to understand.
Lin-Manuel Miranda’s New “Music Film” Helps “Get The Job Done”
Timely with “Travel Ban 2.0” all over the news, this anthem reached Lin-Manuel’s “Hamilton” heavy fan base and gave some of us something relevant for today’s issues.
Got a favorite that’s not here? Browse the archive and comment below.
We thought net neutrality was safe when it was on the chopping block in 2014, where such a negative outcry convinced then-chair of the Federal Communications Commission (FCC), Tom Wheeler, to flip his vote and save the day.
But it’s back — a major decision is being made by the FCC on December 14th. A repeal of the net neutrality policy would favor big companies over consumers, setting back small businesses and independent filmmakers alike. What’s worse is that, unfortunately, it’s likely to go through thanks to the power of the swing vote, unless we all come together to help make a difference.
We’re for net neutrality. It has helped FWD:labs, which began over 10 years ago, as it allows us to keep costs down, speeds fast, and innovations moving forward.
And it’s not just web services and platforms that will be negatively impacted by the impending decision. It also affects independent film, both for filmmakers to deliver and audiences to receive. Can you imagine paying a new fee just to access sites like Netflix, Hulu, or Vimeo? Or having to mess around with package deals or bundles like what cable companies have been doing for years, upselling us on more than what we want?
We each already pay an Internet Service Provider (ISP) or mobile data carrier for a certain non-preferential speed to the internet. (Even that sales pitch isn’t always true with things like speed limiting and throttling.) Now they could actually be allowed to intentionally slow down or lock out certain sites that don’t shell out additional fees, or require consumers to pay for what’s otherwise basic access we have now.
All in all, repealing neutrality will mean higher costs for less services. It will hinder growth and accessibility. It will introduce tiered, “fast lane” services. Comcast, trying a PR stunt to appear “pro” neutrality, has already been caught deleting their promise to not adopt that kind of model, which proves yet again you can’t trust them to do the right thing with zero oversight.
Having the Internet permanently reclassified broadband as a telecommunication service would protect consumers. We need regulation that is pro-consumer and pro-entrepreneur, not more ways to line the pockets of the big guys. The FCC should be benefitting and protecting consumers, not the opposite.
What can you do before it’s gone?
Even though they may not consider it *, and may even be deleting public comments, please file your own statement of support for net neutrality with the FCC via GoFCCYourself.com, a friendly redirect from late night host John Oliver to the right part of the FCC’s website.
Click the “+ Express” link on the right. Make sure you’re seeing the proceeding number 17-108, which represents “Restoring Internet Freedom.”
If you’re A-OK being on the record, use your full name; otherwise consider the first name plus last initial.
For the comment portion itself, consider something in your own words along these lines:
“I strongly support net neutrality backed by Title 2 oversight of ISPs. Net Neutrality protects consumers’ rights to have an open Internet, where all traffic is treated equally.”
If you need a hand, you can also call their help line directly at 202-418-0193 or e-mail ECFSHelp@fcc.gov.
Need more perspective? Watch John Oliver’s take on “Net Neutrality II” from earlier this year:
* Ironically, the FCC’s own website claims that they deliberately “seek the public’s comment … (and) the Commission considers the comments received in developing final rules.” If they go against that and unilaterally make a decision that benefits their head honcho, they go against their core values.
Creative agency Zulu Alpha Kilo penned an article two years ago that’s still very relevant: “Say No To Spec.” In an industry filled with favors and freebies, it’s a good reminder to weigh the merits of doing work for free:
As we showed in our recent video featuring real people being asked to do spec, diners don’t fork over free meals. Personal Trainers don’t do your workouts on spec or give away their intellectual property. So why are we giving away our ideas? Like the guy in our video says, “Who would ever agree to that?” Sadly, we know the answer.
On the surface it may seem like a good idea for clients to harvest a smorgasbord of free ideas during the pitch process, but it can actually do more harm than good.
Legendary designer Jeff Zeldman recently authored a post entitled “Why Don’t Nonprofit Sites Convert?” He raises a point to ditch the focus on the about/mission/board and instead on giving the visitor what they want first, and the foundation something second:
“[P]ut yourself in the member’s shoes. What does that member wish to achieve on your website? Have you created transactions and content that allow her to do what she came to do? Have you designed and written menus, links, and headlines that help her find the content that matters to her? Forget the organization, for now. Pretend the only thing that matters is what the user wants. (Because, ultimately, it is.)
Do these things, and weave your singular, simple conversion opportunity into each screen sequence with which your user interacts. To optimize your chance of success, place the conversion opportunity at the very point where the user successfully finishes transacting the business that mattered to her. Not before (where it is only a distraction). Not in another part of the site (which she has no interest in visiting). She’s a lot likelier to sign up for your mailing list after you’ve helped her donate food to her neighbors than she is to sign up in an unsolicited popup window.”
Entrepreneur and author Gary Vaynerchuk “crushes it” with sales tips day and night. (We even profiled him back in 2008 for standing out from the crowd.) One thing he’s written recently that resonated with creatives is part of an article called “5 Best Tips For Salespeople,” where one is about just creating more content:
In 2017, there is zero excuse not to be creating content around your product, service, company or brand.
Because of the iPhone and the internet, and social media, anyone can produce and distribute. Just 15 years ago, if you wanted to create a commercial to promote your brand, you would need to spend hundreds of thousands of dollars on media and marketing. Today, you can literally use your smartphone, record a 2 minute clip and run ads on Facebook. The cost of entry has dropped 100 fold.
So when I decided to take the plunge and pursue freelancing full-time a couple years back, I did so with the intention of having time to work on some personal projects, namely a collection of short stories. Now that I’ve been getting this itch to also write a book to help artists and freelancers with their money, and also to carve time for their creative projects, I have even more reason to scale back on freelance business to focus on these projects. And while I have enough beans saved to take a sabbatical of sorts from freelancing, I haven’t done it. Not yet.
Well, why’s that? In short: I’m scared.
MONEY IS A TOOL. PERIOD.
Yes, I’ve decided to be liberal in my use of caps and bold.
Quit yer whining, Jackie. Don’t you know there are greater problems in the world? Debt, poverty, wage inequality. Crazy politicians.
But I wanted to make a point. Even if you had that money in the bank to do whatever it is you damn well pleased. There are obstacles. And a lot of them are internal. Sure, there are external obligations, such as taking care of kids or aging parents. But let’s talk about the internal struggle, shall we?
I grew up in a workaholic family. My mom, uncles and aunts, cousins were all industrious people. When we weren’t working to make money, we were busy at home, cooking, cleaning, fixing up our homes, etc. I just visited a cousin in Orlando who was so exhausted while moving that he fell off the pickup truck.
The biggest cardinal sins were to be lazy and self. Make yourself useful!
So naturally, I was a busybody. I was one of those annoying types in high school that was part of 10 clubs and got good grades. But busybody is my go-to. Busyness is a terrible habit. I often find myself losing touch with my values, feel burnt out, stressed, and even more anxious.
It’s hard to say “no,” especially when you are trying to please others. My friend Melanie of Dear Debt just attended the GirlBoss rally, and left with this: Are you doing something just to please others, or are you honoring a value? What are your values?
These habit energies are tough thing to undo. It could take years, or decades. I’m serious. I’m fully aware of my busybody tendencies, and I have to kind of constantly monitor myself. While I am still going to be volunteering and quibbling over how to add value to the work I do, I am going to give myself permission to indulge. Indulge in saying no to social gatherings, to obligations and give myself the okay to work on my creative projects.
Love of Making Money
Money is addictive, like crack. Studies show that when you make money, there’s a part in our brain that activates, similar to taking drugs. Yes, your brain thinks money is a drug.
My good friend Alan has told me, “In 10 years, are you going to look back and say to yourself, ‘Gee, I really wish I worked more?” Nobody thinks that way. And because I try to live a frugal lifestyle, which isn’t hard when you don’t feel deprived and find abundance in your life and take joy in the simple pleasures.
And I’ve never regretted not taking a job. I want to do the best job possible when given an opportunity, but it’s not essential to take on every job? Once again it’s all about value. What is the value for doing something? What’s essential?
Just the confidence that this is the right choice for you. It’s about trusting yourself. There’s the adage, every time you say “no” to something is a “yes” to something else. So you just have to trust in yourself. My fellow freelancing buddy Taryn talks about how just because somebody else wasn’t able to achieve what you want to do, doesn’t mean you can’t carve out your own path to making it work. So be that trailblazer.
I don’t expect to necessarily make a cool million dollars, or write that bestseller. But I am saying “yes” to something I’ve been wanting to do for a very long time. And it will come in handy. Developing the habit to say “yes” to myself, to engage in deep, focused work, and to give myself permission to toll over something I can be proud of.
Inability to Say “No”
It’s far easier to say “no” to the long-term things, like taking on a full-time job or commitment. But it’s the casual commitments that eat up our time. Attend that mixer? Sure. Check out the new watering hole down the street. Let’s do it! I just finished Greg McKeown’s “Essentialism: The Disciplined Pursuit of Less” and he had some great tips on how to gracefully say “no,” such as “You are welcome to X. I am willing to Y” to set boundaries, or “Let me check my calendar and get back to you.”
There will always be fears. If you’re alive and breathing, you’ll be afraid of something. And there’s plenty to be afraid of. I’m not certain I’m even afraid that I won’t get back on the freelancer bandwagon. But you know what? There are a million ways to earn a buck. And you’ll just have to trust yourself and deal with any repercussions, perceived missed opportunities, and the like.
So I’ve been reading Cal Newport’s “Deep Work: Rules for Focused Success in a Distracted World,” where he talks about how the ability to focus deeply on your work is a rare and valuable skill. Especially in our day and age where we veer toward “shallow work,” such as answering emails, tweeting, meetings, and the like. But the ability to work interrupted and free from distraction is not only about having the time to do so, but the discipline.
Newport goes into detail about creating a regiment, setting time aside each day with a designated workspace. Easier said than done, right? And as we all know, managing money has nothing to do with knowing what to do, but having the freakin’ discipline to follow through.
So I’ll be starting off with 20-30 minutes of solid, Internet-free periods of work, followed by an hour, then 90 minutes, and working my way to two hours. I still need to figure out how I’m going to balance my personal projects with my freelance work, since I will still be working part-time, but that’s something that needs to be resolved.
What I am trying to say is that while money is definitely helpful and gives you options, it’s not everything. When you’re ready to do that thing you’ve always wanted to do but didn’t have enough money or time to do, you better have the habits and mindset in place to actually take the plunge.
If you had enough money to do what you really wanted, what would get in your way?
(Originally published at Cheapsters.)
— Jackie Lam
Personal finance blogger helping people thrive in the gig economy
Side projects often succeed when treated like real work. When you’re not doing it all the time, Side Project Checklist is a handy site that has things like a marketing checklist, perfect for covering the basics.
They also have some other lists like e-mail marketing tools to remind you that you’ve got options. The author encourages contributions via Github, which is an interesting approach to crowdsourcing line items for lists.
Cartoon Brew’s article, “A Beginner’s Guide To Copyright Law For Artists,” gives a nice breakdown the U.S. Copyright Office and when to lawyer up when it’s not public domain, fair use, and other cases where borrowing flies.
Shopify’s Polaris is their design system, documenting online their rules. On their color page, there’s some nice cases on how they focus attention. Overall, systems enable consistency for a company’s sites. For other web style guides, check out styleguides.io.
Explainer videos can be predictable. Here’s a look at a few straight-forward products that had out-of-the-ordinary marketing efforts, which in these cases went viral and set them up for success.
One of their recent “Mattress Protector” ad told their product story using a Sasquatch family as the visual hook along with some unpredictable humor.
“This Unicorn Changed the Way I Poop” cuts to the chase. By using unicorns, ice cream, and Medieval characters, you’re pulled into the absurdity of this all, yet learn about the product and its value in no time.
Harmon Brothers made this ad with 31 million views on YouTube. They note that the company had a 600 percent increase in online sales and 400 percent increase in retail sales. As you can see on their site, they’ve done a few others just like it, such as one for Poo Pourri. Quite the niche market.
Dollar Shave Club
In 2012, to debut their company, Dollar Shave Club went with a launch video that took their company into the fast lane:
Paulilu made it with, according to Entrepreneur, a budget of just $4,500. (Ad Age also has a thorough interview.) The video led to thousands of new customers right away and helped boost the company that was recently acquired by Unilever last year for a billion dollars.
Any other favorite viral ads come to mind as oddly intriguing to watch or re-watch?
Hours before the latest U.S. travel ban goes into effect, Lin-Manuel Miranda’s “music film” for the popular Hamilton mixtake track, “Immigrants (We Get the Job Done)” dropped.
According to NPR, the video “was launched to help promote fundraising for the Immigrant: We Get The Job Done Coalition, a group of immigrant-rights non-profits based throughout the U.S. As part of that effort, Miranda is asking fans to post videos of themselves performing songs from Hamilton, in the spirit of the wildly successful Ice Bucket Challenge.” See #Ham4All for some of those posts.
Released yesterday, the video has already passed a million views on YouTube. Despite the video being about appreciating all immigrants, many of the social media comments are understandably political and/or polemic, dealing more with illegal immigration in particular. (The latest travel ban isn’t pro-immigration / anti-illegal immigration, though.)
Director: Tomás Whitmore
Producers: Kimberly Stuckwisch and Melora Donoghue
Executive Producers: Lin-Manuel Miranda, Robert Rodriguez, Kimberly Stuckwisch, and Ian Blair
Production Company: Diktator
DP: Drew Bienemann
Production Designer: Spencer Graves
Steadicam: Alex Kornreich
Editors: Tomás Whitmore and Alexander Aquino
Costume Designer: Christina Flannery
Casting Director: Michael Beaudry
Visual FX: Giant Propeller
Color: MPC LA
Post Sound: Unbridled Sound
[Update: The spot was shot on Cooke Anamorphic/i lenses, according to Cooke on Facebook.]
Music video director Michel Gondry helmed this month’s album cover ad for Pandora, marking their start to a #SoundsLikeYou campaign. Partizan did the production. It’s a great example at keeping your attention in little vignettes: what album cover is next and how’s the person going to run through it. Funny too how online now we have a 1:1 aspect ratio trend — a throwback to the square record cover.
Smashing Magazine shares 16 points on how website form design is better if you have one thing per page. This bucks the trend of having as much as you can now on a single page. The difference in this case is about segmenting complex processes into smaller pieces.
A few nights ago, all of us were taken by surprise when La La Land was incorrectly announced as the winner of Best Picture. The mistake was remedied, but Moonlight‘s win was cloaked with intensity.
With the drama of awards season, I started watching clips of Carrie, the Academy Award-winning horror film by Brian De Palma. In the movie, Carrie does all sorts of paranormal and frightening things. But after a few minutes, I started to wonder: What makes the scenes, and the story as a whole, so engaging?
The answer turns out to be really simple: lots of tension.
To help you keep your audience on the edge of their seats, here are “5 Tips for Building Tension in Your Stories.” You may not win an Academy Award, but you’ll at least never have to watch someone nod off again.
- Foreshadow Future Events. Building tension starts shortly after your opening. Once the audience understands the basics of the story (characters, setting and problem), begin building tension by foreshadowing elements of the story that you intend to address later on. The easiest way to do this is to introduce a powerful image – in Carrie, it’s a broken mirror – that offers a clue about the events to come. If your audience suspects that something is awry (i.e. a girl breaks a mirror with her mind), they’ll keep watching.
- Subvert Expectations. In order to keep your audience engaged throughout the story, you have to undermine the audience’s expectations and keep them guessing about what’s going to happen next. Here’s a hypothetical scene: a man and a woman are flirting in the elevator of an apartment building. The man eventually asks for the woman’s phone number, but the woman refuses. The man presses her for her number and then all of a sudden a snake comes slithering out of the woman’s shirt. The man screams and runs from the elevator as soon as the doors open. Unexpected, right? All great scenes raise questions about the characters and the situation.
- Add Comic Relief. As a storyteller, you can only build so much tension into the narrative before your audience needs a release. The easiest way to do this in stories is to introduce a secondary character who offers insight into the struggle. Consider the earlier example of the snake. Maybe in the next scene of the story we see the woman walking out of the apartment building when a snake slithers out of one of her pant legs. The doorman sees this happen, but instead of screaming and calling the police, he pulls out a live mouse and proceeds to feed the snake.
Entertaining, right? Good comic relief can momentarily distract the audience while also reassuring them that the storyteller understands the absurdity or tragedy of the narrative.
- Introduce Non-Visual Elements. Powerful images aren’t the only way to keep your audience engaged. Sound, smell and touch can be just as evocative (think about theme song from “Jaws”). In Carrie, the sound of locking doors seals the fate of all the students inside while also making the audience curious about what’s going to happen next. The challenge for storytellers is that most stories operate inside a visual medium (even oral stories “paint a picture” for the listener). One way to get around this is to use analogies or metaphors. A good analogy will do wonders.
- End with the Unexpected. In all stories, the job of the storyteller is to leave a lasting impression with the audience at the end of the story. The way to do this is often to introduce a new image or offer a final piece of comic relief. At the end of Carrie, the audience sees a hand reaching out from beyond the grave to grab Sue, the sole teenage survivor. The image is chilling and reminds the audience that even though the central problem (Carrie’s revenge) may be resolved, there are other problems that will outlive the story.
Pretty tense, right?