CorpComms Magazine

1 Do some research

When you're drawing up your shortlist, talk to industry bodies like the International Visual Communication Association (IVCA). If you don't know it already, look at a production company's website, have a chat with it and watch some of its work. For all but the most rudimentary projects it is essential to have a face-toface presentation - get the people you are thinking of working with to talk through their ideas and plans. Ideally do this at their premises so you can see what kind of agency you're dealing with and what the energy and feel of the place is.

2 Keep focused

The first thing to ask is whether the project is necessary. Then ask: 'Does it have a specific job to do?' 'Is it the right medium?' 'Is what we want achievable?' This is a vital part of the process. The answer may be that you need to communicate a specific message to your external stakeholders, or you want to inspire the whole firm. Your agency will want to make a film that works - by changing how the audience feels about something. Help it by keeping things simple.

3 Remember the audience

It is vital to describe the audience in the brief. Who are they? How do you want them to feel after they've seen the film? Don't try to be all things to all people. It's fine to have broad audiences but you need to have a clear hierarchy - for example, your primary audience might be the internal audience at the coalface, but you may also want to use the film externally. Think about what will appeal to the intended viewer, rather than to yourself and your bosses.

4 Give us sufficient time

The classic situation is the client who spends four weeks getting approval for a brief, and then gives four days for agencies to respond. Creative thinking takes time. Give companies time to develop your ideas and you'll get better value from them. Deadlines make more of a difference than you think: if the film really does have to be made for next Tuesday, the creative options can be limited.

5 Keep it simple

If you try to bombard people with information in a video, little will stick. Don't lose sight of TV's motivational power - it's more important that the viewer takes away a strong overall impression than remembers every detail. What do you need to say to the audience? Does a message help achieve the overall effect you're after? If not, leave it out. Be clear about what must be included. But remember: if you want something to engage people, it's essential to be selective about content.

6 Be honest

Credibility is everything. Build in negatives rather than ignoring them; honesty and directness can win people over. Think about issues around language. What's the attitude of the audience to this subject - neutral or hostile? What level of cynicism is there about your message? Be realistic: if staff members are worried about their jobs, you're unlikely to get them jumping for joy.

7 Be open-minded

There's more than one way to make a video: drama, comedy, animation, interviews, and so on. Try to avoid having a preconception of what the film will be. A good production firm will challenge you with strong ideas. Generally audiences appreciate something a bit different. They'll sit up and take notice if a film surprises and entertains.

8 Length matters

While you might feel you're getting value for money by insisting the film gets longer, the effect is often the exact opposite. Don't be wedded to a particular length of programme. It might seem that a 30-minute film is what you require but it may only take four minutes to get the messages across - lose people's attention and you lose impact.

9 Consider distribution

Delivery can have knock-on effects - ashown on a big screen will be different from a podcast. Don't forget distribution numbers and delivery deadlines; DVD copies are easy to create but menus and packaging take a bit of time and money. Allow a couple of weeks to generate large numbers. Intranet distribution of video is becoming more widespread as it saves on distribution costs and opens up opportunities for supporting elements and better evaluation.

10 Be upfront about the budget

It's pointless trying to design a Rolls-Royce if you can only afford a Mini. You'll get the best results by giving agencies a steer so you can compare like with like. This doesn't have to be a single figure - it can be a range. But be realistic: it's not a cheap process. Actors, shooting abroad, animation and titles all add to the cost but can make the difference between an ordinary film and an outstanding one. treatment for a large conference to be

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