2019 — “Stop Dreaming. Start Scaling.” ad
Pre Production Documentation
December 27, 2019
Prepared for Continuous Composites Inc., By Inland Film Co.
Film Objectives
First — identify the pain point through a compelling story from a Continuous Composites prospect or existing client.
Second — introduce the solution. Through visuals, and narration (talking head) discuss the solutions Continuous Composites is able to provide their customer.
Third (not least) — help position the client as the hero. Through stories of efficiency (money and time), and seeing the client better serve their own customers through efficiency and scalability.
Mood
Organic — using our style, and giving things a raw and filmic look to make people feel like they’re part of something, or even like they’re there.
Upbeat — using a song that will elevate the visuals, we plan for this to be moved by a strong symphonic song and to feel big.
Movement — through harmony of wide and tight shots, quick cuts, fast movements, and emotive moments, this promises a film that holds peoples attention.
EXAMPLE OF PAST WORK
Capabilities. Style reference. Color grading. Look and feel. Storytelling.
HOPS TO BEER (4 Minute Cut)
Crafting fresh-off-the-farm brews from the middle of a hop field, Bale Breaker Brewing Company is a family-owned brewery located in the Yakima Valley. Backed by four generations of hop farming experience, Bale Breaker started in 2013, and has grown to become the fourth largest independent craft brewery in Washington.
Hops are in the family's DNA: the great-grandparents of sibling-owners Meghann Quinn, Kevin "Smitty" Smith, and Patrick Smith first planted hops in the Yakima Valley in 1932, the year before Prohibition ended. Now, Meghann, Smitty, Patrick and Meghann's husband Kevin Quinn are crafting brews that celebrate the world-class hops grown in their backyard.
Production Days: 3 Days
Director: Mitch Williams
Director of Photography: Sam McGhee
Producer: Danika Norman
Watch the full length (8 Minutes) documentary short film here.
WHAT WE Loved
Color - We loved the visuals we were able to get for this, and particularly liked the color grade we applied to the visuals. Although this specific color grade is different from much of our other work, and outside of Continuous Composite’s brand standards, it’s an example of our ability to match color to brand standards and requirements. Bale Breaker was adamant about the fact that they are not a desaturated brand — we worked hard at making that known through this grade. The hops pop. The colors are bold and vibrant. We wanted you to almost be able to imagine the taste and smell through this film through the visuals.
Variety - We loved getting up close and tight on the subjects, with a wide angle lens — but also loved pairing that with wide shots to show the vastness of the operation. This gives the audience a level of intimacy and understanding. The focus maintains on the subject, or the action — and ultimately the story. There’s a level of care in your heart specifically for the individual’s story when shots are paired like this (appropriately) — and removes all other distractions.
Action sequences - We loved seeing the laborers at work, and the giant machinery — bottomcutters, topcutters, hop trucks, and more. Most people don’t get the opportunity to see what it is these amazing people do, and getting those bits caught on camera help tell that story and open the eyes of the audience in new ways.
some inspiration
The above example (inspiration) we found was made for Intel using KIRA, the camera robot. In an ideal world, we’d be able to use our documentary style storytelling techniques to highlight the gritty startup nature of Continuous Composites, and marry it with crisp and clean robotic shots using KIRA to highlight the precision and future-forward nature of the business and its products (hardware, software, and materials).
Our Vision
A SONG THAT MOVES
Focusing on making the greatest impact, we chose a song with classical undertones that moved like a dance. We feel this tone of song will pair perfectly with fast cuts, wide and tight shots, and visual movement — especially juxtaposing the business’s journey with the product itself. When we listened to “The Story Never Ends” (above), it clicked. We knew this was the type of song to tell the story of Continuous Composites helping manufacturing businesses find success within their product stack. Feel free to press that little orange play button, and give it a listen while reading through the rest of this.
Note: the song is not final, and can change depending on the story we tell, but this gives us a basis inspiration. Additionally, we would cut up the song to build in elegant ways and be sure the lows and highs of the song fit with the visuals appropriately.
Movement
By using fast cuts, movement, and natural sound, we’ll be able to visually tell the story of how Continuous Composites helps manufacturing businesses scale and move faster than ever before.
Tight Shots
We will get tight shots by getting up close and personal with wide angle lenses. The purpose of this will be to keep the focus on whoever, or whatever, is in frame at any moment and/or the action taking place. There’s a sense of intimacy with shots like this, and you don’t risk your audience becoming distracted. Nothing else in the moment (as a viewer) matters.
Polished Interview
We’ll want to hone in on polished and professional interviews that also hold a raw, organic, and cinematic look and feel. Additionally, we pay close attention to the quality of audio we get from each interview and come prepared with a wide array of microphones.
Aerial
For establishing shots, it would be ideal to get gorgeous aerial photography of the landscape, facility — and the beautiful Coeur d’Alene backdrop. Our goal with aerials is that they look like they were shot from a helicopter and not a drone (even though we’re using a drone).
Real Scenarios
Ideally, we plan our stories around one or two real life scenarios. Ones that have happened, or ones that are currently taking place. Using real scenarios will keep things more accurate on screen, but it should also help us in planning out our filming schedule — hoping we can get scenes reenacted, or document them actually happening.
Available Equipment
Sony FS7
+ Rode NTG4+
+ SmallHD 502
+ Batteries - (1) BP-U90 & (2) BP-U60
+ (1) 256GB XQD Card & (2) 128GB XQD Card
+ Metabones EF-E & EF-E Speedbooster
Sony FS5 Mk ii + Atomos Shogun Inferno
+ Rode NTG4
+ Atomos Shogun Inferno
+ Batteries (2) 90WH V-Mount
+ (1) 1TB SSD
+ Metabones EF-E & EF-E Speedbooster
Cine Lens Package
+ 18-35mm T2 Sigma Cine
+ 50-100mm T2 Sigma Cine
Wireless
+ Tilta Nucleus-M Wireless Follow Focus System
+ Teradek Bolt LT Wireless Transmitter
+ SmallHD Focus Bolt Wireless Monitor
Stabilization
+ Easyrig Vario 5 + FLOWCINE
+ DJI Ronin 2
+ Kessler CineSlider 40” (Supports 80 lbs)
+ Miller SOLO VJ Tripod Legs (100mm Bowl) (Supports 66 lbs) & Manfrotto 509HD Tripod Head
+ Benro TMA38CL Tripod Legs (Supports 35 lbs) & Manfrotto 502HD Tripod Head
Microphones
+ (2) Rode NT5 Cardioid Condenser
+ AKG Hypercardioid
+ Rode NTG4+ & Blimp
+ Rode NTG4
+ (3) Shure SM7B
+ (3) Rode Boom Pole Pro & C-Stand Mounts
+ Focusrite Scarlett 18i8 USB Audio Interface
+ Zoom H6N Audio Recorder
Grip & Lights
+ Fiilex Q1000 5” Fresnel LED (1500W-2000W tungsten equivalent)
+ Fiilex Q500 5” Fresnel LED (750W tungsten equivalent)
+ C-Stands
+ Backdrop Kits (White & Dark Grey)
what’s it going to Take?
(TENTATIVE — DATES AND TIMELINES COULD CHANGE DEPENDING ON FINAL SCOPE AGREED UPON IN PRE-PRODUCTION)
Pre Production — Two Weeks
January 14th - January 28th
Script, storyboarding, location scouting, casting, scheduling with Continuous Composites
Filming Days — Four
February 4th and 7th
Interviews (Talking Heads) — Day One
Product B-Roll + Aerial Photography — Day Two
Office/Engineering B-Roll — Day Three
KIRA - Day Four
Post Production: Three Weeks
February 10th — February 28th
Crew
Director
Cinematographer
Phantom Flex4K Camera Operator
KIRA Operator
First Assistant Camera
Production Assistant
Grip and Lighting
Production Sound Mixer
Boom Operator
Editor
Color Artist
Aerial Pilot
Rentals (pricing varies - and schedule permits)
Music License
The Story Never Ends, By Chad Lawson
Final Products — Four Films
Included: 4K Versions (for Facebook, YouTube, Presentations and more).
Up-To Four Minute (1x) — Stop Dreaming. Start Scaling. — Our Story
Up-To Two Minutes (1x) — Sizzle Montage
Up-To 90 Seconds (1x) — Our Team
Up-To 60 Seconds (1x) — Stop Dreaming. Start Scaling. — Commercial
Camera Equipment and Gear
Deadline
(for one of the four films)
February 28th
Budget
$55k to $80k
Lastly
We really hope to help tell your story. We are aware Continuous Composites is a startup and at the same time we very much believe in your product. If you’re held back by budget at all, please let us know as we’d be willing to discuss how to get creative with you (possibly partial payment via options or warrants, in lieu of cash?).
Note: This proposal includes Fully Released Photography (RAW Footage) upon agreement that Inland Film Co maintains the right to use the footage for marketing purposes.
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This proposal was sent with the expectations of only being shared internally at Continuous Composites, Inc., and with no one outside the organization.
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