Author: dev_team

How Much Does a TV Commercial Cost?

Posted on by dev_team

If you’re planning to advertise your brand on television, one of the first questions you’ll ask is: How much does a TV commercial cost? The short answer is: it depends. The long answer involves understanding what goes into producing a spot, what it takes to get it on air, and how to align your budget with your goals.

At Movie Mogul, we’ve produced commercials at every level, from local spots to national campaigns. Let’s break down what drives cost, what decisions matter most, and how you can approach your next TV commercial with confidence.

Production: Where the Costs Begin

A common misconception is that shorter commercials cost less simply because they’re shorter. In reality, the length of a commercial has very little to do with its cost. A 30-second spot can cost more than a 60-second version if it involves higher production value. What truly impacts your production budget is the complexity of the creative.

If your commercial includes multiple shoot days, high-end equipment, specialized crew, talent with usage rights, licensed music, and detailed post-production, the price goes up, regardless of length.

Here’s how the tiers typically break down:

  • Local Commercials: Often run between $5,000 and $15,000. They may feature a simple concept with limited locations, a skeleton crew, and non-union talent. You’re usually looking at a one-day shoot and a short edit timeline. These spots are common for local service providers, dealerships, and political campaigns.
  • Regional Campaigns: For a larger regional rollout, the production budget climbs to $20,000 to $75,000. At this level, brands may hire professional crews, rent sound stages or specialty locations, cast experienced actors, and take more time in post-production. You’ll get a polished result designed to stand out in major media markets.
  • National Broadcast Spots: When you’re producing a commercial to air nationwide you’re entering six-figure territory. National campaigns often cost $100,000 to $500,000 or more… depending on the concept, shoot logistics, visual effects, music licensing, and talent agreements. Some commercials tied to major product launches or sporting events reach $1 million+, especially when celebrity talent or stunts are involved.

Creating a Production Budget

Each commercial is unique, but most production budgets include the following elements:

  • Creative Development: This includes the concept, script, storyboards, and pre-visualization. A creative agency or production company typically handles this.
  • Pre-Production: Casting, location scouting, crew hiring, permits, insurance, and scheduling.
  • Production: This is the shoot itself with direction, camera team, grip/lighting, sound, art department, and other departments. Costs increase based on the size and complexity of the crew, number of locations, and length of the shoot.
  • Post-Production: Editing, color grading, sound design, motion graphics, and mastering for broadcast standards.
  • Licensing & Rights: You’ll need to pay for any music, footage, or third-party visuals. If you’re working with union talent, you’ll also have to budget for usage windows and renewals.

What separates a great production partner from the rest is the ability to maximize every dollar. The focus is on what makes the spot effective and not the flash that doesn’t serve the message.

Additional Costs 

Commercials often involve hidden or unexpected costs. Plan for them early to avoid surprises later:

  • Talent Usage Rights: Union actors typically come with limited usage windows. Extending or renewing those rights can cost thousands.
  • Music Licensing: Custom scores, recognizable songs, and even stock tracks carry licensing fees. Depending on the usage, this can range from $500 to $50,000+.
  • Clearance & Compliance: National spots must go through legal clearance, technical checks, and may require closed captioning or accessibility features.
  • Agency or Producer Fees: If you’re working with a full-service agency, expect to pay 10% to 20% of your media spend as a management fee or retainer.

These costs can add 20 to 30% to your base production and media budget, so it’s wise to build them into your early estimates.

Media Buying: Putting Your Commercial on Air

Once you’ve produced your commercial, you need to purchase airtime. This is where the other half of the budget comes into play. The cost of buying airtime depends on three factors: market size, network, and time slot.

  • Local Broadcast: In smaller markets or during off-peak hours, 30-second spots can run as low as $100 to $500 per airing. In medium-sized markets during daytime programming, that number climbs to $1,000 to $5,000. Evening news, prime time, or major sports events will cost significantly more.
  • Regional Cable: Regional placements on cable channels like HGTV, ESPN, or FX cost more but allow you to target a broader footprint without going fully national. These typically run between $15,000 and $100,000 per campaign, depending on the reach and frequency of your media plan.
  • National Broadcast: For big brands airing during major events or popular shows, expect to spend $150,000 to $500,000 for a single 30-second spot in prime time. And if you want your commercial to air during the Super Bowl? That’ll cost you between $7 million and $8 million, just for the airtime.

Realistic Budget Scenarios

To help frame expectations, here are three sample commercial types and what they typically cost:

Local Business Commercial (Denver Market)

  • Production: $11,000
  • Airtime: $4,000
  • Total: $15,000

Regional Healthcare Campaign

  • Production: $40,000
  • Airtime: $30,000
  • Total: $70,000

National Retail Spot

  • Production: $150,000
  • Airtime: $500,000
  • Total: $650,000

In each case, the production value aligns with the scale and reach of the media buy.

Final Thoughts

In the world of commercial production, there is no one-size-fits-all answer. But with a clear goal, a strategic plan, and the right creative team, you can make your budget—big or small—work hard for you.

A great commercial does more than fill 30 seconds of airtime. It builds trust, defines your brand, and drives action.

So how much does a TV commercial cost? As much as you’re willing to invest in making your message unforgettable.

Need help planning your next commercial? Whether you’re producing for broadcast, streaming, or a regional cable buy, Movie Mogul can guide you from concept to cut. Let’s bring your story to life… on brand and on budget!

How to Find the Right Location

Posted on by dev_team

Finding the right location is one of the most critical decisions you’ll make in pre-production. The right location sets the tone, builds authenticity, and either enhances or complicates the story you’re telling. Whether you’re producing a national TV commercial, a branded content piece, or an indie film, your location does more than provide a backdrop… it becomes a character in the story.

At Movie Mogul, we’ve helped hundreds of clients, from scrappy startups to global brands, find the perfect place to shoot. Choosing wisely requires more than aesthetics. It demands planning, practicality, and foresight.

Why Locations Matter More Than You Think

On screen, the right location makes the viewer believe. It conveys mood, era, lifestyle, and credibility. A well-selected set tells your audience where they are and how to feel, without saying a word. But behind the scenes, locations can either streamline or sabotage a production.

Let’s say you’re shooting a scene at a coffee shop. Option A is a charming café in a small space, with poor lighting, no load-in space, and constant background noise. Option B is a bigger coffee shop with space for your crew, better sound conditions, and generous electrical access. The difference? You either burn hours troubleshooting or wrap on time and under budget.

How to Begin the Location Search

Start with the script. Break down every scene and create a list of what you need. Exterior or interior? Modern or vintage? Day or night? Urban or rural? This breakdown becomes your location brief and helps your team scout efficiently.

Next, think beyond what looks good. Consider how your location functions:

  • Space: Will your crew and equipment fit?
  • Sound: Can you control ambient noise?
  • Access: How do trucks, cast, and crew get in and out?
  • Power: Is there enough electricity on site?
  • Control: Can you shut down streets or limit foot traffic?
  • Permission: Can you secure the permit and other legal permissions to film?

Once you’ve outlined your must-haves, work with a location scout or manager. They understand permits, access, logistics, and can offer options you hadn’t considered. They also know what red flags to avoid, saving you time and money.

The Art of the Tech Scout

Once you’ve narrowed down your top locations, conduct a tech scout. This isn’t just a casual walk-through. It’s a deep dive with your key crew members – Director, DP, 1st AD, Sound Mixer, Gaffer, and Location Manager.

Bring your equipment or at least camera and lens references. Measure distances. Listen to the room tone. Watch how light changes over the day. Mark spots for parking, staging, and crew holding. Capture photos and video. Document everything because memory isn’t always reliable.

A strong tech scout prevents surprises. It shows you where cables will run, how many C-stands can fit, and whether your art department can actually dress the space. It gives every department the opportunity to anticipate challenges… and solve them early.

Always run your location through a checklist that includes availability, weather conditions, insurance requirements, and access to amenities like bathrooms, power, and food.

Legal and Logistical Considerations

You can’t just show up with a camera and call it a shoot. Most municipalities require permits for any professional filming, even on private property if the impact is large. Depending on your location, you may also need police presence, fire marshals, or liability coverage.

Location agreements are equally critical. These documents protect your production and outline terms, hours, fees, and responsibilities. Never film without one, no matter how friendly the owner seems. Verbal agreements won’t hold up in court.

Also consider union contracts, overtime rates, and travel stipends if your location is more than 30 miles from your crew base. One great-looking spot can balloon into unexpected costs if the logistics aren’t planned upfront.

Why Colorado is a Location Goldmine

Colorado offers filmmakers an unmatched variety of cinematic environments. The state’s geographic diversity means you can move from snow-capped peaks to sweeping plains to modern urban skylines without ever crossing state lines. This kind of versatility saves productions time, simplifies logistics, and provides a rich palette of textures and tones to serve any story.

Need alpine backdrops that evoke grandeur and isolation? Head to Vail, Telluride, or Crested Butte, where jagged mountain ranges and pristine valleys provide sweeping vistas ideal for epic moments or quiet, introspective scenes. These areas aren’t just ski towns—they offer breathtaking summer greenery, golden aspens in the fall, and rugged, snow-covered drama in winter.

For desert visuals or stark, surreal landscapes, the Great Sand Dunes National Park and the San Luis Valley deliver visual punch. The dunes rise like a mirage from the plains, creating a setting that feels both ancient and otherworldly. This region has become a favorite for sci-fi, adventure, and high-concept commercial work, with its unique combination of sand, sky, and shifting light.

If your story lives in the city, Denver and Colorado Springs bring their own range of options. Denver offers sleek glass-and-steel high-rises, gritty industrial zones, hip urban neighborhoods, and vibrant street life. The RiNo (River North) Arts District, Union Station, and Lower Downtown (LoDo) are especially camera-friendly. Colorado Springs, on the other hand, provides more open space and a slower pace, with the dramatic backdrop of Pikes Peak visible from many downtown angles. For civic buildings, classic American storefronts, and wide boulevards, both cities offer reliable and accessible shooting environments.

Looking for small-town charm? Colorado delivers Americana in spades. Leadville, perched high in the Rockies, feels like a mining town frozen in time with preserved 19th-century architecture and untouched mountain views. Golden combines Old West atmosphere with modern amenities, while Manitou Springs offers quirky, artsy character against the stunning backdrop of red sandstone formations. These towns provide authentic texture without the artificiality of backlot builds.

Our Approach to Location Scouting

At Movie Mogul, we take scouting seriously. We don’t just find locations—we match them to your story, your logistics, and your budget. We’ve filmed on mountain trails, city rooftops, rural roads, and inside working labs. We know what makes a location both cinematic and practical. Our process includes:

  • Script-based location briefs
  • Professional tech scouting with production leads
  • Permit coordination
  • Logistical planning for power, parking, crew flow
  • Visual reference documentation
  • Contingency planning for weather and last-minute changes

We also maintain an extensive database of Colorado locations of everything from urban haunts (bars, restaurants, coffee shops, alleys, city parks, homes) to outdoor gems (scenic vistas, mountain passes, state and national parks, forests, rivers, lakes). And we partner with numerous property owners across the Front Range to showcase the best homes, ranches and mansions in the area. With these strong relationships, we can identify and secure your perfect location quickly.

The Bottom Line

Finding the right location is never just about looks. It’s about fit. Fit for your story, your schedule, and your team. When you choose the right location, everything else flows smoother—camera setups, crew logistics, sound, lighting, and even morale.

Bad locations add stress. Great ones add production value.

So take the time. Scout deeply. Ask tough questions. Think through every angle, visually and logistically. When in doubt, let a pro guide you through it.

In Colorado and beyond, the perfect location isn’t just out there. It’s waiting for the right team to find it and bring it to life.

Selecting the right location is the first step on the road to a successful shoot.

From Colorado to Utah, from Wyoming to New Mexico, our team of experienced Location Scouts has travelled all across the Rocky Mountain West uncovering visually stunning and unique locations. We also represent a variety of unique locations in Colorado, from homes and ranches to museums and restaurants. If you need a Location Scout on your next shoot, drop us a line.

The Role of a Cinematographer

Posted on by dev_team

You love movies (and who doesn’t), so you’ve decided you want to be a Cinematographer. Great! But what does a Cinematographer actually do? If you say shooting with a camera you’re only half right. There’s so much more that goes into it… and we have the scoop!

The main role of a Cinematographer is to communicate the script visually with the audience in mind. It’s visual storytelling at it’s best. From an operational side, the Cinematographer is the person who actually gets shoots the film, TV series or commercial. But there’s more to it than that. They are also the head of the lighting and camera departments which is a big deal. Still, that doesn’t really tell us what we need to know. The best Cinematographers work closely with the Director to help the director realize their creative vision, through composition, framing, lighting and camera movement.

The EFTI School of Photography in Madrid produced a very stylized version of the job a few years back.

The workflow of a Cinematographer comes down to the fundamentals phases of production: Pre-Production, Production and Post-Production. The project is essentially conceived three times and it’s the Cinematographer’s job to help shepherd the project through the first two phases and then provide input on the final one.

Pre-Production

In the world of filmmaking, cinematographers can be described in different ways. It all depends on how they interact with the camera. If they are operating the camera, they’re a Cinematographer. If they are instructing someone else to operate the camera and more focused on the overall look of the shot, they’re a Director of Photography (DP).

A Cinematographer’s work starts long before a frame of video is recorded. It’s here the Cinematographer has to make some crucial decisions about the look and feel: Questions such as whether to shoot on digital or film (which is rare these days)? What type of camera is the best choice to capture the Director’s vision? Should they shoot in color or black and white? If color is used, will the colors be saturated or faded? Are they going for a more realistic tone or an expressionistic one? What role will camera movement play in the shots? You’ll also assist in sourcing your crew and equipment to get those shots the Director wants.

As the Cinematographer and Director meet to answer all of these questions prior to shooting a bond is formed. Filmmaking is highly collaborative business so it’s critical to get along well with your Director and be on the same page. If things work out well, you’ll see the relationship continue which is why we commonly see the same Cinematographer/Director partnerships in movies.

Production

Cinematography is one of the most complex and challenging facets of filmmaking, especially during principal photography, when everything gets hectic. Not only does the Cinematographer have the biggest crew on set, but he also has to be in continuous communication with the Director and the Production Designer in order to make sure that everyone is on the same page with how the film will look.

For each scene, the Cinematographer decides on the best combination of cameras, filters and lenses, as well as where the cameras will be placed, what the lighting should be and when the scene will be shot. On large films, several cinematographers may oversee different camera set-ups. Others may serve as second-unit directors, shooting background or locations without the actors.

Post Production

Once everything is shot, the cinematographer’s work is largely done. You hand over all your footage to an Editor and let them work their magic. With the vast majority of projects captured in digital RAW formats, manipulating exposure and color is easier than ever before which reduces the involvement of the Cinematographer in post. While Editors and Colorists are masters of their trade, it’s still a good idea to stick around to make sure the film retains the look envisioned by you and the Director.

The Skills Needed

“A Cinematographer is a visual psychiatrist, moving an audience through a movie…making them think the way you want them to think, painting pictures in the dark.”

Cinematographer Gordon Willis (The Godfather, Annie Hall)

Cinematographers are both technicians and artists. They are in charge of the camera, its angles, the exposure used, and production style all enhance the storytelling. But they also must deal with the strengths and limitations of the camera equipment. Even today’s advanced cameras can’t reproduce an image the same way our eyes do, so the Cinematographer must compensate for this inconsistency.

Understanding file formats of media is another consideration. ProRes is one of the most well-known and widely used video file formats. Raw video also exists, but is often cost-prohibitive.  It also adds significant increases in budget due to additional processing time and equipment requirements.

Perhaps the most important aspect of a Cinematographer’s job is their ability to work with others. They never work alone. And they constantly rely on others to help them achieve their goals. Any production requires collaboration. But a Cinematographer must be both committed to their work yet flexible in their approach.

Compromises always have to be made so a lot of the job is looking at the day and realizing what is vital to capture. The easiest way to communicate with the Grip and Electric teams is through making lighting plots and revising them as necessary. It’s the Cinematographer’s job to make sure every shot is usable and flag them when they’re not.

Anything can happen on a film set. So being able to adapt during production is a key trait of a successful Cinematographer.

Learning Cinematography

There are lots of great resources and associations out there to get more information. Here’s a few that we recommend:

The Role of the Cinematographer is part of our series that looks at various roles within film and television production. Also check out our description of the COVID Compliance Officer. 

 

Drone Magic

Posted on by dev_team

Drone magic… how do you define it? After a blizzard grounded our drone, we thought the shoot was a bust. We were in the middle of a whiteout at Breckenridge Ski Area, where the wind was howling, snow was dumping, and visibility was next to zero. Flying a drone safely in that kind of weather? Not an option.

But as always, production finds a way.

Rather than packing it up, we decided to improvise. Thanks to the Inspire 2’s gimbal system, we realized we could still use the drone—as a handheld camera. With its built-in stabilization, we got buttery smooth shots by simply cradling the drone and letting it do what it does best: keep footage rock solid.

From follow shots of skiers gliding through the trees to running footage at speed, the Inspire 2 delivered cinematic results without ever taking off. And yes, we literally put our DP on skis to keep up with the action. (No complaints – he called it a leg day.)

This kind of creative problem-solving is exactly what we’re all about at Movie Mogul. Whether we’re shooting from 400 feet up or knee-deep in fresh powder, we bring the same mindset: Make it work. Make it cinematic. Make it unforgettable. That’s drone magic!

Location Scouting 101

Posted on by dev_team

Location scouting forms the backbone of any well-executed production. Your shooting environment shapes your story and delivers a sense of authenticity to your audience. Scouting isn’t just about aesthetics. It demands strategic planning, logistical savvy, and problem-solving.

Before scouting, we always read the creative brief. From the brief, you should be able to put together a list of all needed locations. Add in the script, shot list or the mood board and you will have everything you need. Once the creative brief has been reviewed, there are six questions to consider when selecting a location.

Match the Location to the Brief

Identify each scene’s essential visual and emotional needs. Does your brief or script call for a moody alley, Victorian mansion, mountain ranch, or modern office? Location scouts work closely with directors and production designers to interpret the project’s needs and match them to real-world sites.

When scouts generate initial location ideas, they don’t just look for great visuals. They test whether each option fits your budget, camera gear, and shooting schedule. For example, a stunning mansion might wow your crew but if it lacks power or limits rigging, it may not be practical.

When debating between several choices, always lean towards the eye-catching locations; they add so much to the quality of the visuals. Choose cityscapes that have beautiful backdrops. Wide open spaces with beautiful skies. Unique architectural elements like textures, patterns, and shapes that would add something special to the shot.

When’s The Shoot?

So many times clients have a great location in mind only to realize that the time of day makes it impossible to shoot there. A downtown street might look great at 9am on a Saturday but go there at rush hour on a Monday and suddenly there’s all sorts of problems. It’s critical to scout locations at the time the shoot is scheduled.

Time of day matters not only for crowds, noise and traffic but for sun position as well. Pay attention to whether a given spot is in full sun, partial sun or full shade. Bright sun can be harsh on people’s faces, and light-colored surfaces can blow out in full sunlight. Sun-tracking apps are a good investment and let you see the arc of the sun throughout the day.

Is It Accessible?

The most beautiful location will become a liability if you can’t get your cast, crew and equipment to and from it. How far up a mountain do you need to hike to get the shot? How long will low tide last before your beach location is underwater? Doing a cost vs. benefit analysis is always important in deciding where to shoot.

Once you’ve got your gear in the location, is there a place to stage it so that it is easy to access, but not in the way? Will you have enough power for everything you need? Are there bathrooms nearby? All of these must be checked off before committing to any location.

For example, filming at Maroon Bells in Colorado poses logistical challenges despite its stunning scenery. From mid-May to October, private vehicles are restricted, and visitors (including filmmakers) must take a shuttle bus to access the area, making equipment transport difficult. The site also draws heavy tourist crowds during peak hours, which can complicate clean shots and controlled setups.

Is It Quiet?

Location audio can make or break a shoot. When scouting a location, determine if you will actually be able to capture clean, high quality audio. The last thing you want to hear every other take is “Hold for sound!” just because you missed something important when scouting the location.

Take a moment to listen to the background noise. Do you hear HVAC, refrigerator, or equipment noises in an office? Traffic noise or planes overhead outdoors? Can the noise be removed or controlled? I generally ask the person I am doing the scout with whether or not these elements can be turned off. In most situations (outside of traffic or planes) they can be accommodating.

How Much Will It Cost?

The truth is that some places are cheaper to work in than others. Look for locations that encourage film production and offer tax incentives/rebates. If you’re tied to a certain city or state, tap into local resources in the area like film commissions and tourism boards. They always have lots of ideas on where to shoot.

To save money or get access to a popular spot, consider reducing the amount of time that you need the space, shooting at off peak hours or limiting the number of people you bring on location. The less you are asking for the easier it will be to secure a location.

For example, the Denver Museum of Nature and Science can charge $2,000 to $4,000 per hour for after-hours film shoots, depending on the exhibit and crew size. If you can shoot early in the morning or in a single exhibit hall with a skeleton crew, those rates may drop significantly. Similarly, Wings Over the Rockies Air & Space Museum offers visually stunning backdrops but typically requires a minimum rental fee of $3,000 for large productions.

 

Who’s in Charge?

Make sure you find the person with the authority to actually grant you access to the space and sign a location agreement. If the space is privately owned, it could be as simple as approaching the property owner. However, if it is owned by a business, nonprofit, or other organization you will probably need to start with the property manager and then seek final approval from their leadership or board. A similar process will probably apply if you are trying to film on public property, except you may need to seek additional permits or insurance beyond a standard location agreement.

Be aware that you’ll need to secure permits and other legal permissions to shoot at certain locations. As you’re looking at a location, understand ahead of time if it is needed and ensure you leave enough lead time to secure any permits.

Once you’ve committed to a location, treat it like you would treat your home. Respect the site and leave it like you found it. Do a walk through with the owner and make sure everything is OK. There have been times when I have tried to secure a location only to be turned away because of a bad experience a location had with an irresponsible production company. Don’t be that guy. Always ensure that the experience is positive for everyone involved. You never know when you might be back.

Why Scouting Pays Off

Choosing the right location sets the tone for production success. It boosts efficiency, maintains crew morale, and enhances the visual impact of your story. By investing time, energy, and attention during scouting, you create stability. You build a strong foundation for your story and empower every department to perform at its best.

By scouting smart, communicating clearly, and preparing for every scenario, you ensure your production thrives… your story shines, and your shoot day hits its stride.

From Colorado to Utah, from Wyoming to New Mexico, our team of experienced Location Scouts has travelled all across the Rocky Mountain West uncovering visually stunning and unique locations. We also represent a variety of unique locations in Colorado, from homes and ranches to museums and restaurants. If you need a Location Scout on your next shoot, drop us a line.

 

How California’s AB-5 Law Affects Filmmakers

Posted on by dev_team

Everyone has been wondering how the new bill enacted to classify Uber and Lyft drivers as employees would affect California’s gig economy. It turns out ripples produced by the law will be felt throughout the entertainment industry as well. Effective as of January 1, 2020, AB-5 (Assembly Bill 5), will restrict the hiring of employees on 1099. Rather than making a law targeting specific companies, legislators in Sacramento basically outlawed all independent contractors with few exceptions.

AB-5 will have jurisdiction over California residents as well as any employees required to perform significant services in California, regardless of their home state. Additionally, even companies that conduct the majority of their business outside of California would still be subject to AB-5 for any worker performing services in California.

The new law will likely have some effect on every film and television production. While major studios should be able to move forward unscathed, smaller production companies and indie filmmakers will feel the brunt of the law. By forcing these individuals to designate everyone they hire as an employee, it will increase costs by up to 30 percent. That’s quite hit for profit margins!

Who’s a Contractor Under AB-5?

AB-5 places a bigger burden on employers to prove that their short term workers are not employees. But just because the law will make it harder for independent contractors to be classified doesn’t mean project based work will cease. AB-5 is merely changing the labor test used by the state of California.

Prior to the law, California adopted the Borello test to determine whether workers were employees or contractors. The new bar to cross will be The ABC Test. Already used by U.S. Department of Labor, the ABC Test assumes a worker is an employee unless the employer can prove there is an absence of control, the worker’s business is unusual compared to the employer’s, and the worker is customarily engaged in a similar trade with many other business entities. Employers who mis-classify their employees as contractors can expect fines for doing so.

How Does it Affect Union Productions?

Most work for major studios and production companies is covered under collective bargaining agreements, with workers being classified as payroll employees. For this reason, entertainment industry unions don’t see the legislation affecting their members.

In a joint statement by SAG-AFTRA, WGA West, IATSE, Hollywood Teamsters 399, and Studio Utility Employees Local 724, the unions made it clear that they do not think AB-5 will affect the industry:

“We have carefully monitored this legislation as it was drafted and moved through the California Legislature… During that time, we conducted due diligence within our own guilds and unions, with outside tax attorneys, CPAs, and entertainment lawyers knowledgeable about our business and loan-out companies, and with legislative staff in Sacramento. These conversations were all undertaken to ensure that AB5 would not undermine the rights secured by our collective bargaining agreements, including the right to form and utilize loan-out companies.”

How Does it Affect Non-Union Productions?

The broad scope of AB-5 should be a warning for all non-union projects in California. Under the ABC Test, the majority of the cast and crew of a production will be viewed as employees considered to be under the company’s control.

Having a call time could be constitute “control.” Working as an actor could be construed as usual to the business of a production company. Collaborating with the same people often could demonstrate that you are dependent on that one job, and therefore, an employee.

The broadness of AB-5 is problematic and should signal to employers that they consider updating the classification of their workers to employees.

Does it Affect Me if I’m not in California?

You might think this isn’t relevant to you because you don’t produce films or videos in California. While that is true for the present, you should still pay close attention because historically, wherever California goes, other states often follow. Here are a couple of examples:

  • In 2004, California was the first state to mandate paid family leave at work. Many other states were quick to follow including Rhode Island, Washington, New Jersey, and New York.

  • In 2016, California was the first state to pass a $15 minimum wage bill. More than a dozen states have since done so too.

So, while other states have not yet passed an official law similar to AB-5, it is predicted that many states will follow.

Going Forward

Although there are many way to address AB-5, from fighting it in court to making all your contractors become LLCs, I believe taking these three simple steps is the best approach.

Modify your agreements. Adjust all independent contractor agreements currently being negotiated to include a clause regarding what may occur when AB-5 goes into effect. This clause would include language stating that all payment obligations still apply, that the employer still has a right to all content and services agreed to, and that terms shall only change as necessary to comply with AB-5.

Add a production fee. Add an additional 15-20% per new employee into your new quotes so your production doesn’t take a hit. If asked, “why?” explain that the government doesn’t see film teams as independent contractors any more so we have to pay them more. It’s not ideal, but it is simple.

Hire a payroll company. Although you could hire extra crew members to manage your payroll, entertainment payroll companies are better equipped to deal with AB-5. They can onboard workers as short term employees easily and serve as their employer of record, saving you the hassle of dealing with the changes.

Final Thought

As with any legislation, the effects can never be truly known until after a law is applied. But even if changes to the law come quickly, AB-5 will be law for at least a full year before any new exemptions are carved out. Companies must be ready to comply on January 1.

 

 

Make Your Videos Unskippable

Posted on by dev_team

When was the last time you watched a video on Facebook? What about Instagram or Twitter? My guess it was in the last day.

The reason for my guess is that the appetite for social media video continues to amaze. Facebook video is now up to 8 billion views a day. YouTube has over a billion users, reaching more 18-49 year olds than ANY cable network in the U.S. Add in other social media platforms and you quickly realize that this is the ideal ad space for marketers.

There are many scenarios in which you might create a video. Although only a very small percentage of people actually click on ads and buy anything immediately, but your impressions can still have a real impact.

Telling Stories

People don’t like ads and want something else. Storytelling has emerged as a way to spark a conversation and get people to talk about your brand. As legendary marketer Seth Godin said, “Marketing is no longer about the stuff that you make, but about the stories you tell.”

Learn to tell stories in a way that is accessible to the readers and users. Great storytellers do not complicate things unnecessarily; they just keep it simple.

Storytelling can be as simple as piquing curiosity and presenting content in an entertaining way. The first step is not “How do I talk about myself?” It’s “How can I delight my audience in the short time I have?” The true success of storytelling in social media is how your customer feels or what they do after consuming it. Focus on entertaining the viewer and piquing their curiosity. This commercial for Amazon Prime captures the viewer by showing two very different religious figures, a Priest and an Iman, and how they are able to connect over shared interests.

Relevant

People love themselves more than they love you, just the way it should be. If nothing else remember this, make your story and your content more about them than you. Put yourself in the eyes of your audience. What motivates them? What do they care about?

The right message, creative, and format are key to successfully grabbing a viewer’s attention. People expect videos to be made just for them, including showing experiences that are tailored to the location they’re in right now.

Sometimes customized content is the way to go. McDonald’s recently created 75 different six-second ads to drive relevancy for the Big Mac with millennials. They were targeted to its audience’s viewing interests, such as watching a movie trailer or live comedy clip. The customized ads earned more than double the ad recall of other ads in the campaign.

Aesthetically Pleasing

Finding the right aesthetic for your videos is challenging. But with the overwhelming amount of content to compete with, it’s critical that brands blend ad content into their videos naturally.

Shooting beautiful imagery in one of the best ways to inspire an audience. Gorgeous content makes people stop and want to know more about the location and who’s capturing this. Although it’s easy for anyone to pick up an iPhone and shoot a video, the time spent working with professionals who know how to compose, light and frame images shows itself in video analytics. Viewers love pretty pictures!

Enterprise uses video to promote its Enterprise Inspires campaign, which highlights various trips and beautiful spots around the country. Often involving nature, Enterprise’s videos stop the scroll with natural and beautiful videos that capture a viewers attention.

The visuals should tell the complete story. If it isn’t, that’s a problem. People are moving fast through their feeds when commuting, walking, and eating. Sound is often not viable for messaging – yet they still want to see what’s going on.

Cut to the Chase

With the viewer attention spans of a goldfish, videos need to be attention grabbing right from the start. Marketers have just 10 seconds to capture and engage an audience before they continue to scroll down or click away; and engagement drops off significantly beyond that. If you have not fully engaged your audience after the first 30 seconds, you’ve likely lost 33% of viewers; and after one minute, 45% of viewers have stopped watching.

Assume you need to cut to the chase in the first five seconds with your audience. Strip down your message and put the most crucial, attention-grabbing content into those first few seconds. Ideally, this open will encourage them to watch more, but even if it doesn’t, you’ve at least left them with a good impression of your brand.

Short and Sweet

One unmistakeable trend in social media is viewers like their videos to be short and sweet… and marketers have responded. Last year, 73% of all videos published were less than 2 minutes long. The days of long corporate videos are long gone.

Length is somewhat platform-dependent. Facebook’s auto-playback feature makes 30- to 45-second videos optimal; while Instagram and TikTok have fueled the demand for less-engineered, “micro-videos” that are 15 seconds or less. And tutorial videos on YouTube or gamer content on Twitch can be much longer… but those are very specific audiences.

Each platform has benefits and considerations, such as pre-roll ads or competing content, that play an important role in the need for a good user experience for your videos.

Make something worth watching – something that your customers will want to watch over and over again. Your goal should be more than to sell your product or service – you are creating a video that will be on the Internet for anyone to watch. It should be engaging and speak to your unique brand voice

Satisfying the Content Addiction

Posted on by dev_team

As entrepreneurs, we spend a lot of time connecting with people on social media. However, if we’re not constantly sharing content with our audience, our accounts can become boring pretty fast.

In the race to gain an audience, social media streams are crowded and competitive. Social media generates a staggering 2.5 quintillion bytes of data each day. An incredible 5.3 trillion display ads are shown online each year. This relentless stream of content makes it harder than ever for your message to cut through the noise and get noticed.

While there’s no secret formula to creating content that gets shared, it isn’t random selection. The fact is people are visual creatures. This is part of the Law of Visual Hierarchy. Movement is more visually prominent than still images. And images are more prominent than text.

Remember awhile back when marketers realized that they needed more than text in their Facebook posts? They turned to images but even photos aren’t enough anymore. Now you need to add video and animations. Check out any of the top brands on social media and you’ll find they use all types of visual content, including videos, photos, animations, gifs, infographics and memes to tell their story.

So where do you start? There are several rules of thumb we follow in creating social content.

DOUBLE UP

For years, a video or photo shoot was seen as a one off. It might be for a commercial, a print ad, a corporate video, maybe content for a new web site… but that’s it. Time would pass and the next time a request came up, a new shoot would be planned. It was an ineffective and expensive process.

Done correctly, shooting all your brand content at the same time makes sense… and saves time and money. A photo shoot piggy-backing off of a video shoot doubles your content and provides all the imagery that you need. You need a plan to execute such a shoot correctly. Our process is to shoot video first and then let the photographer come in to shoot. You’ll need continuous lighting and the same setups to make save time and get as much footage as possible. Think of it in three steps:

  1. Plan out the shoot and create a shot list for video and photography each

  2. Capture your shots using the same location and lighting setup for both video and photography

  3. Move to the next setup and repeat

REPURPOSE

No one wants to spend time and resources creating new content only to have it fade in popularity and visibility over time. Experienced marketers know that repurposing high-performing content into other areas helps extend its lifespan. And by leveraging your content in multiple ways, you can reach a wider audience in a more interesting and persuasive manner.

Video and photo content provide great opportunities at repurposing. Videos can be pre-rolls or smaller, targeted videos by “lifting” an existing section. Interview sound bites are a great example of bite-size videos. Photos can be used as a collage, slideshow, or background for quotes and infographics.

Remember, the content you create is not a one-off… it’s a potential steady stream of posts to your social media accounts. With a little creativity and planning, the ways you can leverage your content is limited only by your imagination.

LESS IS MORE

Studies reveal that marketers have just 10 seconds to grab an audience and call them to action. After those 10 seconds, engagement drops off dramatically. Our goldfish-like attention span wanes and we continue to scroll down or click away. The key is to provide quick bite size chunks of eye candy that convey the brand and vital information.

Length will depend on which platform your audience is viewing. Brand marketers should consider customizing video length for each platform. Bite size content is the trend so staying under one minute is preferable. Facebook’s auto-playback feature makes 30- to 45-second videos optimal, while Instagram and Twitter have demand for “micro-videos” that are 15 seconds or less.

The number of images should be considered as well. Twitter allows four photos in a post while on Instagram you can add up to ten. Facebook mobile has a 30-photo limit while the creator of a Facebook album can add a maximum of 1,000 photos. Again, less is more.

The Colorado Department of Transportation wanted to communicate the dangers of drunk driving and importance of using breathalyzers in an ‘outside the box’ way… at a Beer Yoga class. Besides shooting photos, three short videos were created for different social platforms… at 15-seconds, 30-seconds and one-minute in length. Each was short but succinct in messaging. Beyond the colorful visuals, notice that captions are included throughout the video. Captions actually let viewers know what the video is about, giving them a reason to tap and turn on the sound and listen.

STORYTELLING

People connect with people, not brands. To connect with your audience, show your brand’s personal side… it’s story. Posts about company employees, their lifestyle, and the culture all connect your customers with your brand.

If you’ve got news, share it. Behind the scenes moments, show it. If your company helps the community, make it known. Remember, video and photos can tell a story better than any text. The old adage of “a picture being worth a thousand words” is a cliché because it’s true.

National Geographic has over 350 million followers due to their success with social media storytelling.

User generated content (UGC) is another way to tell your brand story. When you share UGC, you’re not only engaging with your audience, but you are making them feel seen and appreciated. Best of all, consumers find UGC more trustworthy. That’s because it’s created by people who just love your brand. These opinions are seen as unbiased and genuine.

AESTHETICS MATTER

Creating the perfect social media aesthetic for your brand’s feed is challenging. But coming up with the vibe or feeling your brand projects is crucial if you want to grow your audience.

Think of it in terms of walking into a store… The open layout, clean lines and crisp white surfaces of an Apple store give a very different feeling than walking into a bold blue and yellow, yet less grandiose, Best Buy. They have some similar products, but their overall vibes are totally different.

This same rule applies to your brand’s social media accounts. The style of the videos and photos you curate within your feed say a lot about the overall personality of your business.

Starbucks does a great job in their brand consistency with clean design that translates across all of their social media, especially on Pinterest.

Additionally, you don’t want the appearance of your social media accounts to be drastically different than all of the branded materials you already have out in the world, such as your website, logo, and marketing collateral. Corporate identity guidelines can help in this area. If you’re in the process of re-branding go through your videos and photos and delete the ones that no longer fit your brand image.

FINAL THOUGHT

Some things make so much sense, you can’t understand why you didn’t think of it sooner. Social platforms are meant to be about shared experiences. Video and photography communicate more in sight and feeling than words alone. That’s why people can’t get enough of it on social networks. If you’re trying to break through the clutter on social media, use visual content to take your accounts to the next level.

Five Tips for Shooting Outdoors

Posted on by dev_team

Now that the weather’s warming up, why not film some of your next video outside? Indeed, some of the best online videos are created right in your own backyard, on the streets of a city, or in a park. Basically, anywhere the lighting is good and the ambience is interesting.

We’ve put together a list of useful tips for using these factors to your advantage. Use them to get the most out of your outdoor filming efforts! Keep reading to get the tips.

1. Use the sun as a backlight.

By placing your subject between you and the sun, you can achieve a backlit or “halo” effect that emphasizes the outline of your subject. This can be a desirable effect for romantic or emotionally charged scenes. As a bonus, the subject doesn’t have to squint into the sun.

This technique works best when the sun is at a 45 degree angle. If it’s too low, you risk getting lens flare, so try this after midday. Find out more about how lighting works for video in our recent post.

2. Use the “golden hours” of daylight.

Another option, depending on the look and feel you’re going for, is to film when the sun is low in the sky. Roughly an hour after sunrise and an hour before sunset, the sunlight turns golden.

This magical time is referred to as the “golden hour” because nearly everyone and everything looks better in this lighting. Filming with the sun at your back will give your subject a rosy glow.

3. Use a wide aperture.

By manually selecting a wide aperture and zooming in on your subject, you’ll be able to blur the background and sharpen the image of your subject. This is a nice way to visually create ambience without distracting from the subject.

This is particularly important outdoors because it will help minimize the impact of any unwanted movement in the background. By limiting visual distractions, you’ll keep the focus on your subject.

4. Use a microphone.

Perhaps this goes without saying, but outside environments tend to have ambient noise. This can negatively impact the sound quality of your recording.

To solve this problem, use a clip mic or a boom mic—both of which you can place close to the person speaking—to make sure the focal sound is the speaker, not the background. You can find out more about getting the best sound in your video in our recent blog post on the topic.

5. Use filters.

Most cameras these days come with a variety of filters that will eliminate the slight annoyances of outdoor filming that can be distracting, like reflections and glare. A UV filter, for example, will reduce glare, while a polarizing filter will reduce reflections from water and windows.

Read your manual to find out what filters your camera has, and use them! If your camera didn’t come with any, don’t fret. You can often fake this in post production, or buy specialty filters for your camera.

6. Avoid autofocus.

Shooting outdoors often means that there will be several objects in your depth of field, such as buildings, trees, etc. This can confuse the autofocus.

If you’re not careful you’ll end up with footage that keeps focusing on the trees behind your subject, and blurring your subject. Always try to use the manual focus when you’re shooting outdoors to keep this from happening.

Do you have any tips to add to the list? We’d love to hear them. Feel free to leave them in comments below, or give us a shout via Twitter

How Post Producers Take It Down The Home Stretch

Posted on by dev_team

“That’s a wrap everyone!” is one of the last things you’ll hear on set when a project finishes production. Actors go home, the crew puts away all the equipment and the video is handed over to the Post-Production Producer. It might seem like the hardest part of the journey is done but you’re far from over.

Any production would not be the same without the Post Producer. Post-production is a huge part of the production process as it includes all the editing, sound design and color correction of a TV show, movie or commercial. It’s the Post Producer’s job to see that all of these elements are completed, on-time and on-budget.

Editing a video is a little like playing Tetris… you must place the clips in the correct order so that they flow seamlessly. This can be an especially lofty task since scenes are typically shot out of order. Oftentimes, scenes that were shot days apart when weather conditions were completely different look as if they occurred 10-minutes apart in a film or television series. Therefore, Post Producers must be process oriented, have attention to detail and be creative in order to piece together these scenes.

Once editing is completed, the next step in post-production is sound editing. Often overlooked, sound is just as important as the visuals. Just imagine Jurassic World or The Avengers films without the incredible sound design. Inserting dialogue, sound effects and music make the final product more powerful and enjoyable. During what is known as final mix, all the audio tracks are layered within the piece to give it depth and make it sound as realistic as possible. It’s the Post Producer’s job to ensure the sound follows the Director’s creative vision.

The final mix is not the final step. Most Directors like to finish up by creating a ‘look’ to their work. Although it starts by correcting any errors in color or exposure and matching shots captured on various days or different cameras, color grading is used to set the tone of the project. These days, color grading is used more and more to produce artistic effects. A Director might plan to wash his entire movie out to give it a bleak, post-apocalyptic look. Or turn up the colors to make everything feel surreal.

Post-production workflows vary greatly depending on the Editor and Director, as well as the specific project they’re working on. Whatever the process may look like, it’s the Post Producer’s job to keep things moving forward.

And that’s a wrap on post-production! Funny thing is, nobody calls out anything at the end of post-production… except for maybe a long sigh and the sound of a popping cork.

Storytelling is part of our DNA and we
want to tell your story.