At Kaptcha we help B2B companies create more emotional connections with their audiences.
We make films that work. Films that connect with people. Flms that stir emotion and inspire action.
Our team is built around award-winning BBC executives, directors and crew. We give a full end-to-end service – creative and strategic thinking, combined with huge editorial experience from the broadcast TV world.
Let’s Kaptcha your story together.
Why is pre-production so important for your film?
In the broadcast world a huge amount of work happens in the pre-production stage (before any filming starts). Filming is expensive so the aim is to get the most out of filming days – and being prepared helps do that.
Information on the topic, potential contributors, locations, archive that could be used and much more is all gathered in advance – usually far more than can go into the programme. The creative team will then look at all of this and start to work out the most powerful way to tell that story with the elements they have. Usually the director will talk to potential contributors in advance, or even better meet them in person – and also go and recce potential filming locations.
The main benefits of thorough pre-production:
- It allows the producer/ director thinking time to come up with the most compelling way of telling the story
- it means filming days are efficient– and that saves money
- it means people (including contributors and crew) are far clearer of what is expected from them on filming days
- at the end of the day you get a better film for less money
Pre-production is just as important when filming branded content and corporate films – it means the client gets a better film and can often save them money.
A trend we’re seeing in 2018 and 2019 is brands wanting films that are genuine. Films that create emotional connections with their audiences - with real people telling real stories.
We work a lot with the finance, tech and cyber security sectors where there isn’t a physical product to show – so getting your own people or customers on film is a great way for brands to bring their purpose and personality to life.
But it’s moved on from simple talking heads. Short editorially strong films are on trend – mini documentaries. And brands are investing more time into contributor research finding those who have a great story to tell and telling it with passion.
One day roughly a year ago, Rich, (our Creative Director) and I were working in the office brainstorming ideas. I could tell he was annoyed but I wasn't sure why. Then he said – “Rich…” (yes, we’re both called Rich – I know it can be confusing, even for us) “… why do you call them videos? We don’t make videos, we make films”
At first I didn’t understand what he meant. The vast majority of what we do is work with big global brands making short marketing or comms ‘messages’ for them. We generally don’t make feature films you’d see at the movies. But then he explained.
“Over the last 5 to 10 years the term video has been de-valued. If you have a smart phone you can shoot a ‘video’ and the term video is now associated with lower quality”
I understood straight away. Rich and I and many of our team came from the very top end of the BBC and broadcast television. We don’t ‘do’ low quality and we certainly don’t want to. We make high quality, creative films for our clients.
It still took me a while to stop using the term video but, after being shouted at several times I’ve finally stopped. So, if you want a video then I’m happy to lend you my old i-phone – but if you want a film, please give us a call.
People often ask about what we do about the rain. Very expensive commercial shoots and movies pay for weather insurance but most broadcast and corporate productions don’t and that’s because it’s costly, and unless it’s really important that you only shoot in sunshine it isn’t really worth it.
What I’ve discovered over the years is that it very rarely rains hard for very long. There have been exceptions, but generally, if you leave it an hour or two, things clear up anyway.
However, the way to deal with rain is to shoot with it. A lot of things actually look visually great in the rain – cars can look spectacular in the rain for example. Cameras and equipment can be put in rain covers and the crew carry waterproofs – we can still shoot in the rain.
The only real problem is when the rain combines with wind and blows back into the lens – that can be a bit tricky. But, as I say, that only happens once in a blue moon.
So, don’t worry about the rain, we’ll work with it, or we’ll work around it.