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WHAT’S NEXT? COMMERCIALS/CORPORATE DRAMA AND FILM


A NEW MESSAGE


tunnel right now. There’s an optimism in terms of making stuff and getting the wheels turning again.”


CORPORATE For corporate producers, lockdown meant a very quick pivot. With any traditional filming almost a no-go, alternatives had to be found. “All our internal animators are working non- stop,” says Casual Films’ chairman, Nick Francis, along with “a fair bit of editing, whether that is library or stuff that we shot for clients in the past.” Alongside that, content has been made by biking recorders and cameras to client homes “and doing our best to coach them in how to light it properly.” As time has moved on, filming


is now possible. Especially with a two or three-person crew typical for corporate production. “It’s amazing what you can achieve even with social distancing and the risk profile is very low. So we’re ready to go,” says Francis.


The trouble is, much of the


mainstay of corporate work isn’t really possible for other reasons. “A lot of the filming we do takes place in companies’ offices, or has done,” says Quite Frankly md, Jez Frankel. “It’s of employees at work, employee engagement pieces.” Casual’s Francis


agrees that “our real meat and potatoes work is people holding cameras and waving them around offices. Largely that’s just not happening. The majority of our work involves clients who work in big businesses in big offices. Facebook has said their employees can work from


“IT HAS BECOME A PRODUCER’S WORLD AGAIN. PROBLEM SOLVING IS AT THE


FRONT OF THE CONVERSATION”


home until January at least, and all the other tech companies have followed the lead.” All this has brought into sharp relief the skills of the best corporate communicators. “As communicators, we need to become a bit more agnostic about the outputs and really try to offer value in the storytelling and the understanding of what the client is trying to achieve,” says Francis. “It’s where we’re going anyway. The value is less in being able to use the


cameras than ever and more in being a communications consultant.” The experience for clients of


producing work under COVID could mean corporates’ abilities in communicating a message, rather than filmmaking abilities, will come to the fore. Francis gives the example of a marketing director at a major company worrying how he will convince the ceo to spend big budgets again after they’ve managed so long with Zoom calls. “He’s concerned about how we ski back up that hill.” But after months of that content,


there will be a hunger for something more inventive. “I’m hoping that there’ll be a return to more interesting, more engaging, more bespoke films that actually answer a brief,” says Frankel. And the spoils will go to those


who can “understand how to solve business problems with visual communications,’ says Francis. “We will need to work harder to differentiate ourselves along those lines and refocus on what it is that we actually do as a sector.”


Summer 2020 televisual.com 35


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