How to Foster a Startup Culture: Part 2

Startup culture is a nebulous term. It means many things but it’s hard to define. It’s clear that the term grew out of a dissatisfaction with corporate culture, and probably with good reason. There is a clear distinction between Silicon Valley and corporate America, and it appears the culture difference is responsible.

Does culture drive financial performance? Yes. That’s what the research says, anyway. According to a study produced by MIT, the value of a company’s integrity (measured by survey responses) directly corresponded to quarterly deviations in profitability. Moreover, research conducted by John P. Kotter and James L. Heskett showed the average revenue growth of firms with performance-enhancing cultures was 682% over firms with without performance-enhancing cultures.

Perhaps our obsession with corporate culture might be justified. I’m convinced culture has a direct effect on company performance. It can boost morale by making the office environment more enjoyable, which translates into higher productivity. Here are three more tips on creating what we’ve come to understand as startup culture:

Create a Collaborative Space.

The physical environment of an office is a reflection of an organization’s culture. This is why I hate cubicles. Cattle stalls for the white collar, cubicles are the symbol of office drudgery.

The modern-day cubicle (originally called “the action desk”) was denounced by the man who actually created it, Robert Propst. While the original design for office workstations was meant to create open and flexible workspaces, companies would soon use them to box employees in to maximize on rising real estate costs. Three years before his death, Propst told the New York Times that ‘the cubicleizing of people in modern corporations is monolithic insanity.”

The workplace is evolving. Companies have begun to adapt the mentality that tech startups already seem to know: employees don’t like being tethered to a workstation. Allowing employees to select the space that best accommodates whatever task they’re working on, companies have begun to offer a mix of unassigned private offices, conference rooms, and formal and informal settings. With higher satisfaction levels in employees, the data doesn’t seem to mind, either.

While a collaborative workspace can mean many things, some of their key features include:

  1. An open office layout that encourages accidental interactions through open areas.
  2. Common areas such as cafeterias and other non-purpose areas that encourage workers to leave confined offices.
  3. An emphasis on areas that hold two or more people rather than single-occupancy offices.
  4. “Thinking” areas that encourage workers to do their thinking in the presence of other people.

Google has introduced another concept into their open workspace, “150 feet from food.” In their manhattan office, there is no point where an employee isn’t 150 feed from food. Whether employees are near a restaurant, a large cafeteria or a micro-kitchen, they’re encouraged to snack often. Google suggests that the snacking causes employees to have “unplanned collaborations” which increases their enjoyment, feeds motivation and causes greater productivity.

Manage employee energy, not time.

I worked in my uncle’s restaurant as a busboy when I was 12. During slow times, we were told “if you have time to lean, you have time to clean.” Of course, I learned fast how to avoid that. Instead of finishing my work at normal speed, I learned I wouldn’t have to do other, less enjoyable things if I just worked slower. That paradigm made me less productive. In the end, those other things still weren’t clean.

When I entered the corporate world, I realized things weren’t much different. The people I worked with were under the same pressure to stay busy and were scolded if it looked like they weren’t doing anything. Of course, looking busy does nothing for the profitability of a company. The amount of time we spend on something has zero relevance to our productivity.

It’s time to rethink our workday. What if, instead of managing time, we managed the energy of our employees? I know it sounds strange. But, if the end goal is higher levels of productivity, what if we just encouraged healthier living?

At Brandcave, we’ve developed a 70/30 principle that governs our workday.  It’s by no means a new concept, but we’ve adapted it to our personal culture. In short, 70% of our workday is devoted to making and creating. It’s the tasks we do for our clients and it’s also business development. The other 30% goes to whatever makes us better at the 70%. For us, that translates to roughly two hours of our day spent learning, working out, reading or resting. It’s dramatically increased our personal moral and our ability to focus. I’m resolved; a culture devoted to our employees’ health pays dividends.

Inspire Creativity.

“Creativity is not a talent. It is a way of operating.”

That’s a quote from Monty Python actor John Cleese during his 1991 lecture to a group of Norwegian graduates. His lecture, largely based on the research produced by Donald MacKinnon in the early 60s, reveals several interesting characteristics about creative people.

Some may come as a surprise.  First, creativity is almost totally unrelated to IQ (provided you are intelligent above a certain minimal level). MacKinnon showed in investigating scientists, architects, engineers and writers that those regarded by their peers as “most creative” were in no way whatsoever different in IQ from their less creative colleagues.

How where they different? Well, the most creative had simply acquired an ability of getting themselves into a particular mood, which allowed their natural creativity to function. This mood, or way of operating, is an ability to play and explore ideas – not for any immediate practical purpose but for enjoyment. Cleese refers to it as the “open” mode, which he defines as a relaxed, contemplative, more inclined to humor, and consequently more playful mood.

The open mode is something creative geniuses such as Alfred Hitchcock mastered. One of Hitcock’s regular co-writers described working with him on screen plays:

“When we came up against a block and our discussions became very heated and intense, Hitchcock would suddenly stop and tell a story that had nothing to do with the work at hand. At first, I was outraged, and then I discovered that he did this intentionally. He mistrusted working under pressure. He would say ‘we’re pressing, we’re pressing, we’re working too hard. Relax, it will come.’” And, of course, it always did.

Companies who value creativity should take careful measures to encourage their employees to enter the “open” mode when pondering a problem. It’s a top-down approach that requires executives and managers to change their paradigm about creativity, as it cannot be implemented without understanding it in theory.

It may be easier to tell you how to kill creativity, rather than inspire it.  Again, John Cleese articulately shares three tips on crushing creativity in the workplace:

  1. Allow subordinates no humor as it threatens your self-importance and especially your omniscience. Instead, we should treat all humor as frivolous or subversive.
  2. Keeping ourselves feeling irreplaceable involves cutting everybody else down to size, so don’t miss an opportunity to undermine your employees’ confidence.
  3. Demand that people should always be actually doing things. If you can’t anyone pondering, accuse them of laziness or indecision.

6 SXSW Flatstock Artists Talk Design and Inspiration

If you stopped by the Austin Convention Center during SXSW this year, you might have noticed the artwork of Flatstock 48, which filled the exhibit hall like tiles in the world’s greatest mosaic.

Before the kind officials asked us to leave, we visited the booths of several incredibly talented illustrators to film their opinions on design and inspiration. Among them, we spoke with Tim Doyle, Rosie Lea, Aaron Eiland, Justin Santora, Dirk Fowler and Sean Mort. As a fellow group of makers, we were curious how these creative powerhouses continue to inspire and perfect their craft. More than that, we wanted to hear firsthand what they considered to be good design.

Designers are a different breed of people. Slouched in their chairs with often glazed over expressions, these unassuming figures came to life the moment they were engaged. Although exhausted from days of travel and conferencing, they were more than happy to spend a few minutes chatting with us.

One might have expected a conversation about good design to be centered around art theory, aesthetics or proper technique. It wasn’t. They weren’t concerned about following rules as much as they were about working intuitively. This is a rare ability and for me, it seemed almost superhuman. To these creatives, it seemed, good design is more about purpose and self-expression than it is about catering to established traditions or, for that matter, anyone. For most creatives, this kind of way of living is a luxury. Perhaps, it is one we give away too easily.

For most, I suppose, SXSW is a two-week bender of music, film and, of course, free Miller Lite. For us, it was that, but it was also much more. The wonderful artists at Flatstock reminded us of our purpose as creators. It encouraged us to take creative risks and to challenge ourselves more. We’re thankful for that.

As Justin Santora told me off camera, “I hope that I don’t come to a place where I think I’ve learned it all.”

Below is the manuscript of each artist.

On Inspiration

Dirk Fowler

“How do I inspire myself? I just draw a lot. I have three kids so my kids inspire me. I just make things. I’m interested in making things. Being in this room is inspiring. Look around. If you can’t be inspired by what you see then I would question that.”

Tim Doyle

“Alcohol? Lack of Sleep? Caffeine? I don’t know. My brain’s been wired that way for so long. When I was a kid, I was always drawing and creating stuff.”

Justin Santora

“[It’s] the things that inform my world view. Politically, culturally, ethically. Those all factor into what inspires me as well as the technical level of trying to keep up with my friends, who are just really gifted and talented people.”

Rosie Lea

“Well, I read and listen to music as much as I can. Obviously, doing gig posters you have to listen to music.

Sean Mort

“By listening to music, watching films or pop-culture. The kind of things that are really in front of me, really. I just feed on it all.”

Aaron Eiland

“A lot of times, if I get a commission from a different performer, I’ll look at their previous posters and the previous work they’ve put out and try to do something that’s different from anything else they’ve done before. I want them to have a unique voice for that particular show and not just have the same thing over and over again.”

On Design

Dirk Fowler

“What is good design? For me, good design is just something that makes you think. It doesn’t have to give you all the answers. It’s something that attracts you and [makes you] want to spend some time with it.”

Justin Santora

“I guess good design is an intersection of conceptual and visual, where it stirs the proper response with the intended audience.”

Tim Doyle

“You know, I’m slightly OCD so things have to look balanced or else it bothers me. It’s like, everything in its place and a place for everything on the page. As long as I feel calm while looking a piece. It’s like, ‘well, that, that works.’ I can’t tell you, ‘this is what good design is!’ because it changes drastically from decade to decade. You look at stuff from the fifties, it doesn’t look like stuff from the seventies. Stuff from the seventies doesn’t look like stuff from the nineties. I will say, bad design is whatever happened in the nineties.”

Aaron Eiland

“Anything that has some sort of unique voice and communicates some sort of idea or message, in my opinion. The difference between fine art and design, I would say, is that there’s always a purpose or a message to it. I think anything that achieves that is considered good design.”

Rosie Lea

“It’s always good when it shows something about yourself. It’s something personal and genuine. It attracts people’s attention, makes people happy and creates something visually pleasing. It makes people go like, ‘oh, that’s so nice!'”

Sean Mort

“I think it’s so personal. That’s the thing. For me, good design is just being able to look at something and fall in love with it straight away. I like the subtleties of things. I like to be able to look at something over and over again and see different things in it all the time. I think it’s so different for different people and that’s what a show like this shows you. Because, there are so many people who aren’t into my kind of thing or the next thing, might fall in love with the next thing. I just think it’s so broad, the spectrum of it. That’s what I love about it. Good design for me, is just whatever speaks to you personally and for me it just so happens to be this kind of work.”

Fostering a Startup Culture: Part 1

If your core values are nothing more than words on a wall, then you can go about your day and do whatever you want. There’s nothing special about words. But, an actual culture has the ability to change your company and the lives of your employees.

I don’t mean the kind of faux company culture that involves Nerf guns, ping-pong tables or beer o’clock Fridays either. Culture isn’t an event. It’s not a product either. Culture is what happens when you know why you’re waking up, tell everyone about it and follow through on it.

Every company has a culture. The question is not whether you have one; it is whether you have the right one. At Brandcave, we value the innovative spirit, collaborative nature and creative thinking that comes from a startup culture. That’s why we’ve decided to foster and nurture those values.

In part 1 of this series, I’d like to demonstrate three ways Brandcave is forming a startup culture while we still are, in fact, a startup.

Keep Teams Small.

As an agency, we’re choosing to keep our teams small. Why? Because, there is a natural tendency to collaborate less when a team increases its numbers.

Small teams make communication easier and leave no room for dead weight. Today, so much more is being demanded of human capital and it’s not enough to have a team of specialists who silo in one core area. In our eyes, every member on our team needs to be as multi-skilled as an MLB infielder.

Besides, hiring a team of experts may not actually be all that beneficial. Research from Harvard Business Review showed that, “the higher the educational level of the team member, the more challenging collaboration appears to be for them. We found that the greater the proportion of experts a team had, the more likely it was to disintegrate into nonproductive conflict or stalemate.”

At the risk of losing valuable talent, we’re also choosing to keep our members local. As teams become more virtual, cooperation often decreases. Compensating for time zones, overcoming technological mediums, and creating a collaborative environment is more difficult when a team cannot work together physically.

Lastly, collaboration is a top-down initiative. At the most basic level, a team’s level of collaboration reflects the philosophy of top executives. When executives invest in supporting social relationships and demonstrate collaborative behavior themselves, they create what is known as a “gift culture.” Gift cultures are introduced when executives embed mentoring and coaching in their own routine behavior. Their investment in the members of their company is seen as valuable or a gift. In my own experience, there has been nothing I’ve valued more than the time previous employers invested in me.

Encourage Side Projects.

In high school and college, I was often teased by my family and adult friends about my obsession with hip-hop. In their mind, a career in rap was a pipe dream (I agree) and I needed to focus on learning actual trades. I listened and got real jobs, but I never stopped making music and producing projects on the side.

I didn’t realize it then, but my commitment to becoming a successful rapper inadvertently gave me all the tools I needed to become a decent creative manager. I didn’t have the money to get a music video, so I learned how to shoot one. I couldn’t afford studio time, so I recorded myself. I needed graphic design, so I bootlegged photoshop. I needed publicity, so I wrote press releases. You get the picture.

Although I’ve never made enough money to rap full-time, I was hired out of college because of these skills – not because of my college degree. That’s why side projects are so important. They make us better at everything. The skills we learn from them extend out and into everything else.

We are robbing ourselves when we do not encourage our employees to have side projects.

In recent years, technology companies and startups have learned the value of side projects. This has resulted in trends such as Hackathons, where employees work together for days or weeks to create a totally new project out of passion and creative expression. In the end, side projects help create collaborative environments because they reinvigorate our employees and encourage them to take ownership of their work. They create shared experiences. And, not only does it raise office morale, but it sharpens their skill sets.

However, most companies still underestimate how important it is to give employees the time and space to explore the things they are interested in. In our corporate culture where everything is data-driven and measured, side projects are hard to understand. But, if it becomes possible to ditch our obsession with growth, scalability, and financing, side projects allow employees to experiment and become better at their real jobs. It can even save companies.

After all, side projects can be credited for some of our favorite applications. Gmail, Craigslist, and even Post-Its can all thank their creators for working out their own ideas on the side.

Keep the Desk Messy.

When I begin the work day, everything is usually in its place. All papers are aligned, not one is askew. I turn on my laptop and immediately open my web browser. All is calm and right with the world. But, 20 minutes and 100 emails later, plans have changed. And, at this point, I have at least 20 tabs open in my browser and every perfectly aligned sheet has now been sprawled across the table.

I can’t help it. I’ve got a problem. At least, that’s what I’ve been taught to believe.

But, when the Carlson School of Management published a study showing that a messy environment is conducive to creativity, my opinion began to change.

What did the study show? A few things worth noting. First, an organized environment contributed to participants following conventional norms. This means they followed the rules and did the right thing, which isn’t necessarily a bad thing. But, conversely, an unorganized room actually helped participants break from conventional thinking. It encouraged them to think outside-the-box. Ultimately, their ideas were more creative.

Thinking outside-the-box is essential to a startup culture. That is why we’re choosing to abandon the notion that everything has a place and embrace the idea that inspiration should come from any place.

At minimum, this study should show us that our environment affects our behavior. But, it should really show us that we can tailor our employee’s behavior and encourage the attitudes we want to encounter by the kind of environment we create.

For example, if a bank wants it’s loan officers to follow the rules, we can encourage those behaviors by tidy office spaces. Conversely, a creative agency such as Brandcave needs to have more free thinking, and an unorganized room can help facilitate that.

Perhaps, Albert Einstein said it best. He was famously quoted as having said, “if a cluttered desk is a sign of a cluttered mind, of what then, is an empty desk a sign?” Maybe it’s an organized one. But, if my messy desks helps put me in the ranks of other messy desk owners such as Steve Jobs, Roald Dahl, Mark Twain, Tony Hsieh and Mark Zuckerberg, I guess I’ll take it.

Your employees are making thousands of decisions every day. If your company has fostered the right kind of culture, you’ll know they’re making the right decisions. Stay tuned. Next time, we’ll share three more super important ways to foster a startup culture. Be sure to subscribe to keep updated.

How to Shoot Video with an iPhone

Tutorial: How to Shoot Video With an iPhone

The use of iPhone video has skyrocketed. You may have heard of Tangerine, a movie that won considerable notoriety at this year’s Sundance Film Festival. It was one of the first to shoot a full-length feature film on an iPhone. Likewise, Modern Family aired a new episode this week that was entirely made using Facetime on iPhone and iPad. Although these filmmakers used other advanced tools, it’s clear that it is taking less to produce quality video.

In fact, according to a study done by DXOMark, the iPhone is the gold standard for smartphone video. With attractive colors in a wide range of lighting and an accurate autofocus, it’s not entirely strange that we’re seeing it incorporated in commercial use. Of course, an iPhone does not compare to the processing power of other commercial grade cameras such as the Arri Alexa, but the iPhone proves that good video can now be captured at a fraction of the expense.

Coming from a background in film, shooting with an iPhone seemed easy in comparison to the tools I normally work with. To be honest, it may have been more difficult in some cases.

First, I noticed immediately that the storage space on iPhone can be a huge setback when filming. Unless you have a 32 gig iPhone, it doesn’t take much to fill your memory. I had to be mindful of how long I could roll, and immediately deleted scenes if I knew they were unusable. Not only that, but I also had to delete several photos and apps on my phone to get a little extra mileage. All of this can be a little frustrating, especially when the camera ran out of space in the middle of a scene.

Second, editing on an iPhone is rough. Even with the advanced apps available in the marketplace, it still feels clumsy to edit video with your fingers. Like I mentioned in the video, iMovie is all you need to edit. But, I’m convinced it’s still easier to edit on a computer. If you have access to it, programs such as Adobe Premiere or Final Cut give you much more freedom and capability. As good as editing applications might have become, I’m certain they will never have the complexity and usefulness of a real program.

I confess; I may have cheated. In the intro, I explained that the video was shot, edited and recorded all on an iPhone. While this was the goal, and I believe I accomplished it, Cody convinced me that it was still necessary to perform a little post-production quality control. In the end, we still used Adobe Premiere to perform a little color grading, as well as Adobe Audition and Waves to edit the sound.

Lastly, the biggest problem I faced was talent. I’m not typically in front of a camera, and I’d honestly be ok if I never found myself there again. Perhaps I’m just camera shy, but I’ve found a whole new respect for news anchors and actors. I learned how important it is to have a clear understanding of what you’re going to say and how you’re going to say it. You may want to recruit someone from your team that you feel would look most comfortable and confident. Otherwise, you may have someone who looks as awkward as me.

I hope you enjoyed this tutorial. I’d love to see what you can come up with on your own. Have any questions? Send me an email at cody@brandcave.co.

 

 

How to Make Video That Doesn’t Suck

Growing up, I always enjoyed filming. It was fun to grab my parents camcorder and fill those small VHS cassettes with home movies of my friends and I skateboarding or cursing or whatever. Boy stuff. We weren’t concerned about making a professional video; we just wanted something we could show our friends and hide from our parents. We let our imagination do most of the hard work.

I’ve come to the realization that the passions I had as a child have become the same passions I have as an adult. I’m still in love with video, but now it is a much deeper, more complicated relationship. To me, it’s more than a message on a screen. It is a medium that changes the way we relate to the world. It reflects culture, and also influences it.

As a marketer, I understand the power of video in the sales process. Video helps gain attention and attract prospects. It clarifies whether a customer is right for your company. It addresses customer touch points and calls the customer to action. It is even the medium your happy customers are more likely to share with their friends. Unfortunately, most of the videos I see generally suck. I mean, it’s the same thing every time. Sterile scenes. Plastic people. Corporate ukulele music. This video captures my sentiment exactly.

Chances are, your video marketing efforts suck. I don’t blame you. I get it. Video is an abused asset in marketing. Its value is undermined because of its accessibility. If there is any art to it, it’s stolen. But, an iPhone on a tripod doesn’t compare to a well-produced scene, complete with a solid story and beautiful aesthetics. We need to understand cinematography to tell our story better. That’s what inspired this blog.

Here are the ways to keep your video from sucking:

Write something worth watching.

As a communications major in college, I enrolled in a mandatory videography class taught by a documentary filmmaker named Dr. Jean Bodon. I didn’t realize it then, but Dr. Bodon would shape the way I saw and understood film. He’d ruin me forever.

Although he had spent more than a decade in the states, Dr. Bodon’s thick french accent was often indistinguishable. His teaching style was unorthodox, unique and often very insensitive. On one occasion, he asked each student to tell him a story. While the student spoke, the rest of the class was instructed to raise their hand whenever the story became boring. Without fail, Bodon always raised his hand first. Usually, it was within the first 10 seconds.

His point? Stories need to be great. And when it comes to video, the story has to shine brightest. For Dr. Bodon, it wasn’t enough to have an ok story filmed well. If the story failed, the video failed. I couldn’t agree more.

Video makes a story larger than life. It exaggerates reality in a way that makes sense to us. When a man is apologizing to his old lady, he can’t just give a couple roses. We resonate better with a room full of roses or a single rose purchased with the man’s last penny. Not because that’s who we are, but because that is more interesting to watch. Whether narrative or commercial, video lives or dies on the quality of the story.

What makes a story great? House of Cards writer Beau Williman said it most simple: “The most important element in a good story is conflict. It’s seeing two opposing forces collide with one another.” Marketers often begin their video strategy by presenting the benefits of their product or service. But, that’s not strategy. It’s sales-y and it puts the cart before the horse. A right strategy begins by saying, “what is the problem our users have?” and it begins with conflict. A video that doesn’t suck focuses on how users can use a product or service to maximize its benefits. It’s user-centric.

A few years ago, I remember seeing an iPhone commercial that didn’t even show the product. Instead, it showed the view from the phones camera – and the story it told was magnetic. It wasn’t an ad for an iPhone; it was an ad for the experience and capabilities you can have with an iPhone. That’s strategy.

When it comes to the structure of a story, it makes little difference whether you’re writing for B2B or B2C audiences. The focus should always be less on the product and more on the needs of people. As Marketers, we’re responsible for our messaging. We are the bridge between data and those who need to learn something from it. By rethinking how we present our data, we can create more meaningful stories that engage our viewers on an emotional and logical level. In the end, even the most sterile product has the capability to touch someone emotionally.

Film something beautiful

The look, feel and sound of a video are all crucial elements that should work together in harmony. When something is out of place, it’s noticed. And it’s distracting. When a video’s aesthetics are done well, however, the message comes to life in unexpected ways. In this section, we’ll examine three aspects of a video’s aesthetics that contribute to the overall quality.

Lighting and Dynamic Range

Light tells a story. It adds dimensions to our environment. If harnessed correctly, it can even change our mood.

Do me a favor. Point your cell phone camera at a window. You’re going to tell immediately that it looks like one of two things. Either it is going to darken what’s inside and reveal the outside world, or it is going to reveal the inside of the window and blow out everything else. This is an important aspect of video called dynamic range, and cell phones have very little of it.

Dynamic range is a term we use to describe how a camera reads shadows in relation to highlights. Cameras try and replicate what our eyes already see in the real world, and our eyes have amazing dynamic range. Filmmakers almost always try and create the largest amount of dynamic range for their cameras using light.

Are you still pointing your cell phone at the window? Good. Now, bring an additional light and point it at the window sill. If you were able to match the brightness of the inside of the room with the outside world, then you should be able to see both clearly. This is how we can trick our cameras into having a wider dynamic range. By seeing more, we can often create more pleasing and professional-looking shots.

The quality of a video can be drastically improved by proper lighting. Understanding it is an evolving skill that comes with years of experience and technical expertise. However, even basic lighting principles can substantially increase a videos quality. Vimeo created a series of lessons on the subject. Check out their video school here.

Composition

I’ve heard it said before that there is only one correct position for a shot. That’s not true, but what is true is that an understanding of different camera angles and positions can help bring a story together, better. The composition of a shot may be the most important element in the aesthetics of a video. It is the way a scene is framed, positioned and seen by the viewer. And, before you press the little red button on your camcorder (if you’re still using your mom’s VHS camcorder), there are several questions you should ask yourself.

What in this scene is important to show?

Every frame needs to guide the viewer’s attention. Sometimes, filmmakers will use lines or geometry to emphasize different characteristics in a scene. This is usually done subliminally, but it is intentional nonetheless.

Is the shot balanced?

It is important to think about a scene in terms of balancing weight, size, light and color. A scene that is not balanced feels unresolved, and it affects how we watch it. On the other side of that, obvious balance, like dividing a photo in half symbiotically, can be boring. But, balance of placement, size or visual weight (focal points) can help make a scene feel more complete and enjoyable without feeling forced. The same principles used in photography apply in video, and there are many methods of creating balance in a scene. Here are a few.

Is the shot telling the story?

Imagine each frame is a picture on a wall. It should be able to stand alone and still provoke thought from the viewer. A quality video has a reason for every frame. For example, if you watch Raiders of the Lost Ark on mute, you can still track along with the story. Close-ups, angles and the length of each frame all clue the viewer in on what to believe.

After all this is said and done, there is still a technical side to composition. From shutter speed to exposure, resolution and motion blur, all of the technical aspects should be soundly executed. Simply put, a camera operator should be able to give 100% of his brain to influence the video creatively while operating like a technician subliminally. 

Sound

George Lucas once said, “I feel that sound is half the experience.” Too often, filmmakers focus all of their attention on video and ignore the quality of their audio. But, you can always tell the difference between an amateur and professional video by simply closing your eyes and listening to the story. Whether narration, human voice or music, audio is an essential part of making a video not suck.

Interesting enough, we seem to be more annoyed by poor sound quality than bad cinematography. And, although film is essentially a visual experience, sound is the best tool we have when bringing a story to life.

Like any part of the aesthetics of a video, you can use sound to emphasize a feeling. The absence of audio can also move the mood in the opposite direction. Like the calm before the storm, a moment of silence can drum up anticipation and pull the audience in. Sound, or the lack of it, guides the viewer. When done correctly, sound is just as important as the composition of a scene.

Technology has advanced incredibly in the last few years and it is much easier to produce quality sound in post-production. But, the recording of audio uses the same principles that have existed for over a century. Want to learn how to capture better audio in video? Here’s a primer.

Conclusion

At Brandcave, we obsess over video. We’re not afraid to say it’s our strongest capability. But, we’re also not afraid to show others how to make videos not suck. In the coming weeks, we plan on releasing a series of how-to videos on making better video.

What I Learned Launching a Start-Up

As I write this, I am traveling several thousand feet above the Appalachian Mountains. I am en route to South Carolina, where Brandcave will deliver its first presentation to an international client. My wife is asleep on my shoulder, and my partner Mike is curiously filming out the window.

Without trying to sound too dramatic, the moment is symbolic. It is the calm before the storm. I suppose it goes without saying we are all a little apprehensive; we are not arrogant enough to believe our proposal is a sure-deal. At the same time, I am also acutely aware of the consequences of the opposite. “Winning” this meeting will mean Brandcave has entered that stage where my full-time job is not an option. I will have to leave my current agency.

I’ve been considering my motivations behind Brandcave. Knowing full well, at least in theory, the difficulties and risks of a start-up, why would anyone attempt to do it? After all, I’ve managed to create a comfortable life for my wife and I, given our current lifestyle. We do not hurt for anything. Moving forward with Brandcave would mean I would be temporarily (or permanently) cutting our income in half. The risk is understood.

I’m resolved to say, the motivation isn’t money. It isn’t status either, or a desire to create a better agency than the one that currently employs me. I think it’s deeper; it is something internal that wants to prove to myself that I could do it. Or, maybe it’s a very selfish ambition to become my own boss. Maybe both. Time will tell.

Obviously, this article is very personal. As you’ll come to learn from this blog, most of our attention will be devoted toward inbound marketing insights and research. But, in the months leading to this flight I have come to several very personal revelations that I believe any start-up could appreciate. And, despite numerous meetings with the SBA and hours of their toilet reading material, these 3 points were never touched. Hopefully, this article will be beneficial for others like me, who are willing to risk comfort for reasons they do not know.

Here are 3 revelations I had while launching my start-up.

1. Who We Are is an evolving statement.

At the onset, Brandcave was positioned to be a digital services firm. However, we learned early on that this wasn’t a successful business model. There were two reasons for this, and both now appear obvious in hindsight. First, in order for us to be seen as more than a freelance/outsourcing resource, we needed to position ourselves differently. Second, the early success of our company would require an on-going relationship with our clients, not one-off projects.

Both of these dilemmas were met with one answer, but the initial failure was upsetting. My vision of an entrepreneur (rightfully or wrongly) was a picture of a resolute leader charging forth no holds barred with a brilliant idea, overcoming obstacles with certainty and clarity. Instead, I was reconstructing our company’s offerings with the business acumen of Donald Duck.

Since then, I’ve discovered that everyone feels like Donald Duck sometimes. Moreover, start-ups should not be afraid of changing business models. In fact, it’s a very healthy practice called pivoting. We resolved our initial failure by re-positioning Brandcave as more than a digital services firm, but a digital solutions partner — an integral part of our client’s online marketing. In other words, we would not only undergird marketing departments with services, but ideas and long-term campaigns. Instead of one-off projects, we now offer a collection of services that work together to accomplish larger goals.

In web development, we use the agile methodology to build and test the applications we create. This method is essentially an on-going cycle of analyzing, building and testing. A few years ago, this practice was adopted by start-ups. It’s called the Lean Start-Up. There is a fantastic resource on the subject written by Eric Ries. Read more here.

2. The law is open to interpretation.

For people like me, who follow installation manuals to the letter, the legal aspects of starting a business can be frustrating. This is mostly because every attorney believes they are right, and every attorney has a different opinion. After meeting with several attorneys and CPAs, I came to one conclusion: there isn’t really one right way to do anything.

For example, the partnership agreement between Mike and I turned out to be more difficult than I expected. One attorney told me there needed be at least a 49-51% split. In this scenario, one person would have the majority share and final decision, which allegedly would protect our relationship. Another said we needed to have a 50-50% split and a trusted third-party arbiter to have the final say. Still another (the one we ended up choosing) said that a 50-50% split is fine, and differences should be handled like a marriage. I suppose this means we say passive-aggressive comments and go to sleep early. My wife says Mike and I act like we’re married anyway.

CPA’s were the same story, except their opinion seemed to have heavier consequences. When it comes to taxes (and who really understands taxes), I trust a CPA’s opinion like the voice of God. But, after speaking with several CPA’s, I realized that even taxes are not as cut-and-dry as you’d hope.

I suppose I should have guessed this would happen. As a marketer, I understand spin well. I just didn’t expect to get it from my lawyers and CPAs. The lesson to learn from this situation is that the personality of your legal affiliate will determine how stringent or lenient they stick to the books. While there is a lot of grey area, some will be more conservative than others. We’re pretty even-keel, so we made a team that matched our personality.

3. Solidarity is most important.

When I first met Mike in our high school freshman IPC class, we unknowingly started a competition of one-upmanship that continues even today. We’ve always been friends, but our respect for each other’s work fuels our relationship. I’ve seen Mike in almost every major phase of his life. We lived together in college. We traveled and performed in a band together. I was the best man at his wedding. We’ve been through a lot. When it came to building a company together, there was no one I trusted more.

But, starting a business with Mike wasn’t just between us. As a start-up that began without any funding, we had to invest from our own piggy banks. This meant that, no matter how much we wanted to be autonomous and run our business the way we wanted, our wives would ultimately become our bankers. And, as co-investors, they have a say in our decisions. This has proved to be difficult for me, because I’m always right.

For people like me, who are shrewd and can often be abrasive, the input of others can seem insulting. Isn’t it? I take the time to calculate every step, and it can feel like an attack to be questioned. But, that’s pride and it’s ugly. When I can set myself aside, I realize that there is a wealth of expertise and knowledge in both Amy and Shawna. They are incredible in ways that I am not. Amy delivers financial, legal and organizational clarity; Shawna understands PR and is an expert content manager. They’re not consequences of starting a business, they’re huge assets. They help Mike and I focus on doing what we’re good at.

I realize everyone goes into business to make money, but I’ve learned that solidarity between our partners is most important. I would rather fail as a business owner than become a sucky husband and friend. Who could have anticipated how much our wives’ input would shape our company? And, as mule-headed as I can be, I’ve learned that their opinions are invaluable to me. This was a hard lesson to learn, but I’m glad I learned it before I lost a friend, or possibly a wife.

Update: We won our proposals in South Carolina. We’re taking Brandcave full-time. Pray for us.