In February of 2007, The Washington Post launched “onBeing.”
The concept?
We need to get to know each other better and what better way to do that than by capturing everyday stories from everyday people?
The result? Short video stories that are:
Compelling
Inspiring
Radically simple
“The unique videos present the musings, attitudes, passions and quirks of people in an up-close documentary style. Each person speaks to the camera against a stark white background. The uncomplicated presentation intensifies the viewing experience and focuses the spotlight on each person's story without distraction.” (Washington Post press release)
Beyond the simplicity it offers, there is something “soulful” about it. Perhaps it’s the fact that each one of us have stories that resonate with one another. Yes, the details in our stories are different but the truth in another’s story is also within us, too. After watching a few of these stories, I find myself remembering that we are all connected and inseparable.
“The initial four “on Being” segments are emblematic of how we can learn from each other by sharing experiences and thoughts.” (Washington Post press release)
Maybe this is why we’re seeing more organizations embrace this approach to connect to their viewers and readers.
Over to you- what do you think?
• Can organizations use video narratives as a way to learn from one another?
• Are video narratives an effective way to genuinely engage employees and its customers?
• In a time of information saturation, should organizations integrate narratives into their communications efforts? If so, how?
• Can our individual stories be part of a larger brand’s story?
Veteran filmmaker Thomas Clifford
helps Fortune 100's to non-profits who are stuck, frustrated, losing
employees or market share because they can't breathe life into their
brand story. He believes remarkable organizations deserve remarkable
films. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
For some reason, we’re born to think that whatever we learn first about something continues to stay true.
“According to the first law of knowledge, people continue to believe whatever they learned first, regardless of later evidence against it.” (Tom Snyder/Kevin Kearns: “Escaping the Price-Driven Sale”)
Here’s a perfect example.
Someone says to you, “Want to watch a corporate video?”
C’mon. Admit it.
You’re rolling your eyes and thinking: “Are you kidding? They’re boring!”
That’s the law of first knowledge in action.
Your first response to seeing a corporate video was probably something like: “They must all be boring.”
Remember, the law of first knowledge says: “All of us have a tendency to see only the things that confirm what we already believe.” (Tom Snyder/Kevin Kearns)
What would you believe about corporate videos if Honda’s “Dream the Impossible” was the first video you saw?
Veteran filmmaker Thomas Clifford helps Fortune 100's to non-profits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
While I shared the basic concept behind Tony Schwartz’s “Resonance Principle” in a previous post, I think it’s worth sharing and taking a direct look at some of Tony’s most important quotes from his books and interviews that shaped his ground-breaking idea. (My emphasis in bold.)
1. “Traditionally, “communication” means “getting something across,” via mail delivery, Western Union, book shipment, newspaper distribution, and the like. It assumes that to communicate you must deliver your message across a gap, transport it from one mind to another. In working with the electronic media, I have evolved a “resonance theory.” The resonance theory of communication is based on the phenomenon of hearing. It concentrates on evoking responses from people by attuning the message to their prior experience.”
2. “The transportation theory of communication holds that the content of a communication is that which it contains. Thus a magazine’s content is whatever lies between the covers. The resonance theory holds that the real content of an electronic communication is the interaction between the material on the medium that one receives (the sound or radio or telephone and the combination of sound and image on television) and the stored information in the minds of those who receive the communication. The resonance theory studies the relationship between the message (the stimulus) and the material in the mind of the receiver.”
3. “The most important thing to realize is that people are born without earlids…So what determines what people hear or listen to? Very simply, they listen to anything that concerns or interests them. I remember when I was looking for a mortgage, I heard every mortgage commercial. The day I got my mortgage, they stopped running them. I don’t know how they knew.”
4. “In developing a set of useful principles for communicating, it is necessary to abandon most of the traditional rules we were taught. A resonance approach does not begin by asking “What do I want to say?” We seek to strike a responsive chord in people, not to get a message across.”
5. “In electronically mediated human communication, the function of a communicator is to achieve a state of resonance with the person receiving visual and auditory stimuli from television…”
6. “In viewing television, the brain remembers previous light waves, sees the present ones, and anticipates future ones, putting the “picture” together just as we put words together when we hear speech. This is a startling new development: For the first time in man’s history, our brains are being used by our eyes and ears in the same manner. In other words, with electronic media we now “see” by the same process by which we have always heard.”
7. “Man has never before experienced a world of visual sensation patterned in an auditory mode.”
8. “In communicating at electronic speed, we no longer direct information into an audience, but try to evoke stored information out of them, in a patterned way.”
9. “Resonance takes place when the stimuli put into our communication evoke meaning in a listener or viewer. That which we put into the communication has no meaning in itself. The meaning of our communication is what a listener or viewer gets out of his experience with the communicator’s stimuli. The listener’s or viewer’s brain is an indispensable component of the total communication system. His life experiences as well as his expectations of the stimuli he is receiving, interact with the communicator’s output in determining the meaning of the communication.”
10. “The communicator’s problem, then, is not to get the stimuli across, or even to package his stimuli so they can be understood and absorbed. Rather, he must deeply understand the kinds of information and experiences stored in his audience, the patterning of this information, and interactive resonance process whereby stimuli evoke this stored information.”
11. "The traditional communication process is thus reversed. A “message” is not the starting point for communicating. It is the final product arrived at after considering the effect we hope to achieve and the communication environment where people will experience our stimuli."
12. “The vital question to be posed in formulating a new theory of communication is: What are the characteristics of the process whereby we organize, store and act upon the patterned information that is constantly flowing into our brain? …how do we tune communication to achieve the desired effect for someone creating a message?”
Veteran filmmaker Thomas Clifford helps Fortune 100's to non-profits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
“How do you want your audience to feel after watching your film?"
I ask that question to every new client.
Intellectually, I never understood why I asked that question.
Emotionally, I understood why I asked it.
Your viewer needs to resonate with your video.
25 years later, I now have a simple theoretical answer to my question. And I can thank Tony Schwartz, media guru and soundman, for his “resonance principle.”
I remember back in 1984 when my soundman bugged me for weeks to read Tony’s two books, “The Responsive Chord” and “Media: The Second God,” written in 1973 and 1981. Regrettably, I never read his books until now.
Most people have never heard of Tony Schwartz (1923-2008). But many remember Lyndon B. Johnson’s 1964 infamous “Daisy” political commercial highlighting the dangers of nuclear arms. Tony was the creator of that spot along with 20,000 other radio and television spots.
For the past two months, I have been absorbing Tony’s simple yet profound ideas on how we learn and respond to electronic communication, especially through television.
Here are my key take-away's from Tony's two books.
The current communication model is broken.
Print has dominated our senses, culture and communication processes for over 500 years.
This domination created a gap and a strong bias in our understanding of how pre-literate or auditory cultures communicate.
Print is linear. Left to right. Top to bottom. Information is in a fixed form. Word after word. Line after line.
Communicating in print requires ideas to be “transported” across space and time. We have assumed for so long that all information must be moved across a space/time continuum.
What happens when there is no “content” to move? No distance to cover?
Like television? Or radio?
A different communication model is required in the electronic media age.
Television is a game changer in how the brain processes information. Electronic media conditions our brain to process information the same way our ears process information.
Schwartz’s “Big Idea:” Electronic media is returning us to an auditory culture.
“The ear receives fleeting momentary vibrations, translates these bits of information into electronic nerve pulses and sends them to the brain. The brain “hears” by registering the current vibration, recalling the previous vibrations, and expecting future ones. We never hear the continuum of sound we label as a word, sentence or paragraph. The continuum never exists at any single moment in time. Rather, we piece bits of information (millisecond vibrations) together and perceive the entire three-stage process as “hearing.” With television, our eyes function like our ears; we never “see” a picture any more than we “hear” a word. Pictures and sounds never exist in a continuum.” (The Responsive Chord, Tony Schwartz.)
For the first time ever our eyes are now functioning exactly like our ears!
This is an extraordinary moment in our communication culture; one we take entirely for granted.
But what does this mean to the viewers watching your video?
It means audio/visual information affect us differently from print. “Content” is a print term. “Content” does not exist in audio/visual information. Audio/visual information are stimuli that affect our nervous system differently than print. We feel differently watching and hearing something vs. reading it.
The fact that a sound “isn’t there” anymore that a television image “isn’t there” creates a need for a new way of understanding how our brains react to electronic stimuli. Inevitably, it demands a new way for us to connect to our intended audiences.
Using the “Resonance Principle”
“The resonance principle suggests that the starting point for understanding and creating communication lies in examining the communication environment you are living in at this moment, and the context within which any stimuli you create will be received.” (Tony Schwartz, The Responsive Chord, pg. 160)
“Resonance takes place when the stimuli put into our communication evoke meaning in a listener or viewer. That which we put into the communication has no meaning in itself. The meaning of our communication is what a listener or viewer gets out of his experience with the communicator’s stimuli. The listener’s or viewer’s brain is an indispensable component of the total communication system. His life experiences as well as his expectations of the stimuli he is receiving, interact with the communicator’s output in determining the meaning of the communication.” (Tony Schwartz, The Responsive Chord, pg. 25)
What’s our challenge, then?
“The communicator’s problem, then, is not to get the stimuli across, or even to package his stimuli so they can be understood and absorbed. Rather, he must deeply understand the kinds of information and experiences stored in his audience, the patterning of this information, and interactive resonance process whereby stimuli evoke this stored information.” (Tony Schwartz, The Responsive Chord, pg. 25)
The "Resonance Principle" reframed:
The message and content is created AFTER the type of response is determined.
We’re back to my original question:
“How do you want your audience to feel after watching your film?"
I’ll be posting more about Tony Schwartz’s ideas on resonance in the future. I hope you get a chance to pick up his two books and learn more about this incredible man and his contributions to how we learn in this new age of electronic media.
What do you think? Is the resonance concept still valid today, 35 years later after the book’s publication? Has the internet changed Tony’s model in any way? I’m curious what you think.
PS. If you enjoyed this post or it simply inspired you in some way, leave a comment or hit the “Recommend This” button.
Veteran filmmaker Thomas Clifford helps Fortune 100's to non-profits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
"What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from.” T.S. Elliot
“Are we in sync?
“I hear what you’re saying."
“Are we on the same page?”
Perhaps the hardest part of any video project for a client and a filmmaker is discovering a vision together.
If you are about to begin a video project or are thinking about one in the future, these questions are designed to help you focus and frame your direction. Starting at the end is the easiest way to get to the beginning.
Does Your Company’s Video Story Answer These 11 Questions?
1. Why do you want to tell your story using video?
Capture emotions and visuals in ways that print cannot?
Bring information to life?
Capture personalities, character, and spirit of your people and facilities?
2. Who will see the video?
Define your target audience.
One major audience is best, while a secondary audience is fine.
More than two audiences can dilute your message.
3. How will the audience see the video?
Will it be a private viewing?
Group viewing?
4. What is the difference between your video story and your printed material?
There is a difference, right?
5. How will the video bedistributed?
DVD?
Internet?
Intranet?
Mobile?
6. What do you hope to achieve with your video?
Change perceptions?
Raise awareness?
Raise money?
Increase sales?
Increase leads?
Dispel myths?
7. Which heroes will tell your story?
Employees?
Leaders?
Executives?
Customers?
Sales force?
Volunteers?
8. If you want your audience to have an “A-ha!” moment, what would it be?
9. What’s at stake?
Asking “What’s at stake?” in your meetings as well as part of the on-camera interviews is a great way to give a project energy and focus.
10. Do you have a “dragon” in your story? Dragons like:
Time
Weather
Money
Disease
Myths
Distance
Communication
11. “When our video fades to black, our audience will feel ………”
PS. If you enjoyed this post or it simply inspired you in some way, leave acomment or hit the “Recommend This” button. Thanks!
Veteran filmmaker Thomas Cliffordhelps Fortune 100's to non-profits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Check out Tom’s full bio for links to his podcasts, interviews and manifestos. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
Part of Hitachi’s campaign consists of seven on-line videos. These seven mini-documentaries feature “real” people sharing their stories of how Hitachi’s products have positively affected their lives. Each film is less than five minutes; perfect for web viewing.
“So what’s the big deal, then?”
It’s this. I find it refreshing to see how a large company can capture personal stories about their products and services in a way that matters to me; and I’m not even a consumer. But I might be one day.
These stories “stick.”
I get how Hitachi helps people. I get how their products dramatically improve our lives. I get Hitachi’s commitment to making a difference in the world. I remember seeing these videos when they were launched two years ago. The stories stuck with me over time and I haven’t forgotten about them.
But these kinds of videos look expensive.
It’s not (so much) about the money. And it’s not about the hi-definition format.
It’s about the story.
The documentary format is the perfect format for most organizations for several reasons. It’s usually affordable over other formats, it “sticks,” and is pretty easy to incorporate into a company’s communications strategy.
While the documentary approach may be unique in advertising, it has been a successful format for filmmakers for many years. With the advent of video falling the hands of so many people, I’m hoping more organizations will incorporate the documentary approach externally, as well, as internally, for connecting with their audiences.
PS. If you enjoyed this post or it simply inspired you in some way, be sure to hit the “Recommend This” button. Comments welcomed, too. Thanks!
Veteran filmmaker Thomas Clifford helps Fortune 100's to nonprofits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
Which makes producing internal videos that resonate with employees quite challenging.
How do I know? Because I spent 10 years as an employee and as a video producer with a Fortune 100 firm. My challenge was two-fold: produce the best stories possible that resonated with every employee. Not an easy task!
Let’s face it.
Producing videos that resonate with employees can be difficult.
In your people. In their stories. In their voice. From their perspective.
No doubt, having a regular stream of videos being produced that employees have access to is important.
But more importantly, are the videos creating an “A-ha!” moment?
• Do they allow employees to see the “big picture?” • Do they give employees a glimpse into a new or different reality? • Do they create an honest framework for employees to understand and believe in?
Employees love stories.
So give them stories. Even if an organization has a systematic and distribution method for employees to see the videos, if those videos are missing a personal point of view, the chance to harness the real potential of video, the power of story, might be missing.
Here are three things I discovered that might surprise you about the simple power of authentic video stories for employee communications.
1. Understanding Context What is our company’s vision? What are its plans in the near future? How are we all connected? Does my role really matter? How can we take better care of our customers?
Since many employees often don’t understand the “big picture” of an organization, questions like these swim around the corridors of companies all the time.
Short video stories from either senior management, the “floor,” or even customers can give employees another worldview from which to see their role. In a matter of a few minutes, employees can see how their team or department is integrated into other remote areas of their organization.
2. Boosting Morale Companies are perpetually seeking ways to boost morale. Producing interviews in an open and honest way can go along way to reducing the rumors and lack of information in an employee’s mind. You’d be amazed how simple and effective this technique is in video. You’d also be amazed how infrequently it is used. Most employees don’t want to watch fancy videos; they simply want to see and understand the world around them in clear, simple, honest ways.
3. Feeling Connected One of the greatest benefits video offers employees is the opportunity to feel connected to one another. For example, in many companies employees don’t have access to see or hear from senior management on a regular basis.
Just imagine the response if employees had the chance to see candid, unrehearsed conversations from their leadership team.
Or imagine seeing and hearing a team of doctors describing their five-year vision to create a ground-breaking facility to help future patients. Imagine employees sharing their dream of launching a new product or service globally. In just a matter of a few minutes, employees can feel connected in ways that matter to them.
Looking for another way to increase employee engagement? Consider capturing simple authentic video stories for your organization. I’ve been surprised many times. You may be, too.
PS. If you enjoyed this post or it simply inspired you in some way, be sure to leave a comment and hit the “Recommend This” button. Thanks!
Veteran filmmaker Thomas Cliffordhelps Fortune 100's to nonprofits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Check out Tom’s full bio for links to his podcasts, interviews and manifestos. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
When I first read Daniel Pink’s “A Whole New Mind: Moving from the Information Age to the Conceptual Age” four years ago, it reinforced how I believe organizations can use video more effectively and authentically than ever before.
Pink's six "senses" offers a new map
“A Whole New Mind” covers six “senses,” or aptitudes, individuals and organizations need to succeed and excel in the future.
You can think of these “senses” as a new landscape for filmmakers and clients to consider when producing their videos.
The premise is simple
The age of information is giving way to a different type of age: an age of artistic and emphatic abilities. It is an age that will require a new mindset to compete and survive. Pink calls this new mind, “a whole new mind.”
What does this have to do with your company's video?
It occurred to me that the six “senses” in “A Whole New Mind” are the same six elements incorporated in many successful films.
And here’s the best news.
These six "senses" can easily be incorporated into any organization's video story
From diversity and recruiting to orientation and marketing films, companies can start using these “whole new mind” senses by incorporating them into “whole new videos.”
Here’s how.
Six senses for "a whole new video"
1. Design
Adding design to your video quickly elevates it from a “commodity” to something that is beautiful to look at. Design engages us emotionally. Three places you can begin using design in your video is in the interviews, motion graphics and sound design.
2. Story
For too long, many corporate videos have been drenched in information. Somewhere along the way, story got replaced with data. Video is inherently an emotional medium. Incorporating narrative into a company’s video is not only a natural but will make it memorable and remarkable.
3. Symphony
Pink defines symphony as “the ability to put together the pieces…it is the capacity to synthesize rather than to analyze; to see relationships between seemingly unrelated fields.” Video is a fantastic medium for creating symphony. In a matter of a few minutes, your values, teams, departments, locations and various disciplines can all be seamlessly woven into a storyline to create a feeling of wholeness and completeness.
4. Empathy
Of the six senses, this is my favorite. Empathy is having the ability to understand and share the feelings of another. Think about your company’s film. Place yourself in the shoes of your audience. Does your film really understand the feelings of your audience?
5. Play
All too often, play isn’t part of a company’s video. “We don’t play here,” is a common response. Just a few seconds of a playful moment in a video can lift the spirit of your audience and create a moment of joy that will stick in the viewer’s mind long after they watched it.
6. Meaning
In an age of over-abundance, “meaning” takes on more significance. Pink offers two suggestions to incorporate “meaning” into our lives: “start taking spirituality seriously and start taking happiness seriously.” As we move into the conceptual age, it will become increasingly important for companies to embed “meaning” and “purpose, into their videos.
What do you think? Does this make sense? Is it possible, even necessary in the future, for companies to incorporate these concepts into their video stories? How does this apply to you or your organization?
Want more? Daniel recently gave a spectacular, two-part interview with Oprah. Don’t miss this! It’s timeless material from a timeless thinker.
PS. If you enjoyed this post or it simply inspired you in some way, be sure to leave a comment and hit the “Recommend This” button. Thanks!
Veteran filmmaker Thomas Cliffordhelps Fortune 100's to nonprofits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Check out Tom’s full bio for links to his podcasts, interviews and manifestos. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
The conversation ends. The camera stops. The lights cool.
You feel good. You caught it: a real candid conversation from an employee, a customer or senior management.
Here’s the thing
There’s a pretty good chance your head is swimming from everything that was discussed.
So how do you distill the essence of someone’s video conversation?
How do you make sense of everything that was said? How can you tell your hero’s story so it flows naturally?
This is the last part of the journey, the “return.” Your hero’s story and message will flow easily if you prepared and covered the first two stages of the journey, the “separation” and the “initiation.”
Let’s explore the third part of the “hero’s journey,” the “return.”
Sharing knowledge In the classic “hero’s journey,” the hero returns from their adventure to share their knowledge and insights with their community.
Your task is no different: to take what you learned from the hero’s conversation and craft it in a way that benefits your community or your audience.
The Return: 3-Step Process
Transcribe Get your conversation transcribed to paper (ideally, with time-code from the video tape). Put it in a binder and label the binder.
Highlight Read the transcript at least three times. Really absorb what was said. Begin to feel like you know the hero’s story by heart. Highlight the most meaningful points or moments you feel your audience needs to know and feel.
Arrange Option 1. Copy your favorite sections into a new document. Arrange them so they tell your story in a way your audience will lean into it and care about your message. Option 2. The second method is my favorite and works well for many clients, as well as filmmakers. Print out the highlights. Cut out the best sections and physically move them around on a large desk in a way that tells the best story.
That’s it!
This is the last post in this series exploring the “hero’s journey” in capturing an organization’s story through video.
If you enjoyed this post, be sure to leave a comment or share it with someone. You can also hit the “Recommend This” button.
Veteran filmmaker Thomas Clifford helps Fortune 100's to nonprofits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Check out Tom’s full bio for links to his podcasts, interviews and manifestos. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
The crew is ready. Your interviewee, or hero, is ready. You’re ready.
Now, the second part of the “hero’s journey,” the “initiation,” is about to begin.
Of course, this initiation is not a series of tests in the classical sense of the “hero’s journey.” Think of the “initiation” as a conversation; simply a series of explorations into someone’s point of view.
This post will focus on the second stage of the hero’s journey, the initiation, and the three components to successfully capture your hero’s story on-camera.
The Hero’s Journey: The Initiation
Step 1. Warm-up questions
It’s tempting to jump right in and start asking questions about your topic. That can be a rough way to start your conversation, especially for someone who has never appeared on camera before. Consider entering the conversation informally and more naturally, like you were asking questions over a meal.
Begin the conversation by asking questions you may not use in your video but will put everyone at ease. You’ll be pleasantly surprised that some of the answers to these warm-up questions are a great way to start or end your video.
Here are a few questions I like to ask to gradually get the conversation going. Pick what will work for you.
• What were you doing before you came here?
• How did you discover this job?
• What’s a good day for you look like?
• How does that make you feel?
• What are you passionate about? What makes you tick?
• When you were coming into work this morning, what were you thinking about?
• When someone asks you what its like to work here, what do you say?
• What’s the culture like here? Describe it for those who haven’t been here.
Step 2. Provide space in-between questions
Once the conversation is underway, turn your attention to the content of the video.
Now that the conversation is underway, here’s a simple technique to get the most from your interview.
Instead of jumping right into the next question, wait a few seconds before speaking. Give a moment to the interviewee to see if they want to add anything else to what they just said. It may look like they finished their statement, but in fact, they often want to say more. They just need the space to say it. Provide that space with a few seconds of pause before you jump into your next question.
Step 3. What did we miss?
You asked all your questions; even a few extra spontaneous ones. You’re done, right? Not yet.
Take a few moments to reflect on what was covered. Nine times out of 10, you missed something. Think of asking your questions from a different perspective. Perhaps you didn’t cover a certain area of your customers, vendors, company divisions, etc.
Another great technique I often use is to turn around and ask my film crew if they have any questions. A crew brings an entirely different perspective to the conversation and it’s a great way to capture additional and important ideas you might have missed.
Speaking of missing, what did I miss? What tips or techniques have you used to capture a great interview? If you’ve appeared in a company film, what suggestions would you share to make the journey more successful and inspiring?
If you enjoyed this post, be sure to leave a comment or share it with someone. You can also hit the “Recommend This” button.
Veteran filmmaker Thomas Clifford helps Fortune 100's to nonprofits who are stuck, frustrated, losing employees or market share because they can't breathe life into their brand story. He believes remarkable organizations deserve remarkable films. Check out Tom’s full bio for links to his podcasts, interviews and manifestos. Tom produces films with passion and purpose at Moving Pictures, a firm connecting companies and audiences through compelling visual communications.
