Hollywood Branded Refresher Episodes
Check out some of the past episodes we’ve covered on this topic:
- EP 267: Better Your Brand By Building Your Visuals: The Importance of Great Graphics With Katie Dooley | Paper Lime Creative
- EP 195: Reporting the Trends in the World of Streaming Video with Ashley Rodriguez | Business Insider
- EP 22: Marketing To The Beat Of Music Video Product Placement
Hollywood Branded Content Marketing Case Studies
The following content marketing case studies below provide even more insights.
- Case Study: Product Placement In 5 Music Videos [Infographic]
- Brands & Video Games: A Case Study of Fortnite
- How to Leverage Music Videos for Branded Content Partnerships
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- Case Studies
- Hollywood Branded Surveys
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- Certifications In Influencer Marketing
We GUARANTEE that this class series will provide you with the foundation to make campaigns successful for your brand.
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Welcome to Marketing Mistakes (& How To Avoid Them). I’m Stacy Jones, the founder of influencer marketing and branded content agency, Hollywood Branded. This podcast provides brand marketers a learning platform for topics best to share their insights and knowledge on topics which make a direct impact on your business today. While it is impossible to be well-versed on every topic and strategy that can improve bottom-line results, my goal is to help you avoid making costly mistakes of time, energy, or money, whether you are doing a DIY approach or hiring an expert to help. Let’s begin today’s discussion.Announcer (00:31):
Welcome to Marketing Mistakes (& How To Avoid Them). Here’s your host, Stacy Jones.
Stacy Jones (00:35):
Welcome to Marketing Mistakes (& How To Avoid Them). I’m Stacy Jones and I’m so happy to be here with you all today. I want to give a very warm welcome to Guy Bauer. Guy is the founder and creative director of Umault, a B2B video marketing agency that helps brands simplify the sales process with video, that’s makes it not boring. Guy is also the author of Death to the Corporate Video and has spent the last decade with his team concepting, scripting and overseeing video campaigns that make the complex simple, transforming ordinary businesses into extraordinary brands. Today, Guy and I, we’re going to be chatting about how to utilize B2B video marketing. We’ll learn what works from Guy’s perspective, and what should be avoided and how some businesses just miss the mark. Guy, welcome. So, happy to have you here today.
Guy Bauer (01:23):
Thanks, Stacy. Great to be here.
Stacy Jones (01:25):
Well, I always like starting off our conversation with, how did you get here today? And you had kind of a different path as far as your early career to becoming a founder of a marketing agency. How did you do this?
Guy Bauer (01:41):
Yeah. So, I started out as a video nerd, basically. In the seventh grade, in the mid-nineties, we had to make a project for English class and I guess everyone made dioramas and my dad had this VHS camcorder. I got the idea of, “What if I made a video.” And so, we made the videos for Rikki-Tikki-Tavi, and we had to shoot it live in the camera. There was no editing or anything, but my dad had this thing of this camera could overlay music. So anyway, I overlayed music onto this video, played it in front of my seventh grade class, and everyone was just… Like, they couldn’t believe what they were seeing. And I’ve been addicted to that feeling ever since of like wowing people and an audience. So, my career took me through like entertainment route. I came up through a Crank Yankers and The Man Show and then executive produced a morning radio show.
Guy Bauer (02:46):
And the whole time, video was my hobby. And basically in 2009, the great recession, I got laid off and I started my agency with a $50 puppy video. This guy had puppy video footage. He needed it edited. He paid me 50 bucks and that’s where it started. So, I never came from a “marketing background” or an agency background. I always came from like a comedy entertainment, that whole angle. And so, when I started doing bigger and bigger projects for B2B companies and I was seeing what are my clients naturally wanted, which was pretty boring talking head stock footage of that intersection in Tokyo, where all the people cross the street.
Guy Bauer (03:32):
And I just noticed, I was like, “None of this is entertaining to anyone. No one cares.” And so, basically, I kind of had it and I started forcing clients to make stuff that people would actually want to watch. And that’s where I think we excel because I came in as an amateur, not a marketer, but as like an entertainment guy. All of our stuff has that kind of entertainment angle to it rather than a kind of advertising angle if that makes sense.
Stacy Jones (04:03):
It does. And it makes you really uniquely positioned actually, because today, like my agency, what we do is we specialize in pop culture and partnerships and product placement and movies and TV shows. And the reason why we promote that to our clients as being such a phenomenal way to work with productions in order to get engagement is because it’s entertaining. It’s branded content. It’s something that breaks through the advertising clutter that’s out there. And really what you’re doing is you’re using that same philosophy of what is entertaining that people want to tune into that they want to see it and actually capitalize on that into what’s traditionally really stayed and kind of boring B2B marketing. And so, your background actually lends itself perfectly into the career that you built for yourself.
Guy Bauer (04:53):
Yeah. I think you’re exactly right. I think a major mistake brands make is they assume that what they’re making will be paid attention to. They assume that audiences will give 100% attention. And that’s what leads to kind of boring stuff that doesn’t entertain. Whereas an entertainer, like if you’re making a comedy central show or whatever, you actually have to assume the opposite that you have to earn every second of someone watching, that you assume 0% interest and that you have to prove yourself at every single second. And I think that’s a major mistake that I see a lot of our clients’ making is they assume 100% interest where they should actually assume 100% disinterest and entertain and earn their way to be paid attention to.
Stacy Jones (05:50):
Yeah. And it’s interesting because this is certainly a slant that the B2C world of advertisers has been embracing, right? They’ve been trying to come up with whether it’s Poo-Pourri and it’s like, “Oh, that’s so funny. That’s the best ad ever. It’s so funny that they did this. Yay Harmon.” But it transcends that because going into the B2B world, we think that everything needs to be so dry and boring and step fields, and we forget that it’s the same people on the other end watching, and they’re the decision-makers who can sign checks.
Guy Bauer (06:26):
There is no setting, at least no setting I know on TikTok, Facebook, Instagram, or any social media platform, there is no setting that a user can enable to filter only B2B or only B2C, meaning, every person is watching pimple-popping, and then watching B2C ads and then watching more pimple-popping or whatever, and then B2B ads. There is no delineation between people now. There’s no reason for B2B to be stuck where it is and B2C… They’re the same actually, it’s the same person.
Stacy Jones (07:05):
Yep. They’re just buying for their business or they’re buying for their child, their wife, their home, their husband, whatever it might be, but no difference. It’s still a buyer.
Guy Bauer (07:13):
Stacy Jones (07:15):
Well, you started off by saying, “One of the main mistakes I see people,” which I love because that’s obviously in our podcast title, but what are some of the other mistakes that you see people do besides thinking that their B2B advertising must be boring.
Guy Bauer (07:31):
Yeah. And they don’t see it as boring, actually. They see it as de-risked or they see it as, “Well, our buyers only want the facts and our buyers aren’t going to deal with all this cutesy stuff.” And they backdoor the boring and you know what I mean? No one actually wants boring. The biggest mistake, the hugest mistake, the fundamental mistake that we are in a battle over every single day is that when people go, “All right. We need an ad. We need a video ad.” They go, “Okay, cool. Let’s get a production company. Let’s get a shoot day. We’ll get this in like a month, right?” “Yeah. Okay. Let’s go. Let’s shoot it.” And they make the big mistake of prioritizing production and the actual making, and not the strategy or the idea. Put it this way, if you were to build a custom house, you don’t call a carpenter as your first step and say, “Hey, carpenter, I want you to build me a house.”
Guy Bauer (08:31):
The carpenter’s going to say, “I need a blueprint.” Your first call, when you build a custom house is to an architect and the architect is going to ask you things like, “Well, tell me about how you and your family are going to use this space? Are you outdoor people? Are you indoor people? Do you like many floors or just one floor? Do you like basements?” They’re going to ask you all that strategy stuff. And then they’re going to come up with the creative and the creative is the blueprints and 3D renderings and stuff. And then so, all of the first initial steps and really the most important steps in building a house is the pre-visualization, is all of the thinking, there’s no hammering. In fact, the architect doesn’t own a hammer. Maybe personally, in their garage, but they’re not going to build your house.
Guy Bauer (09:23):
The architect then hands the blueprints over to a general contractor who then brings in all of the players, plumbing, electrical, carpenter, all the rest. And so, the biggest mistake is brands go right to the plumber or they go right to the general contractor and they skip over the most important step is the thinking. And that is the root of all the issues we see is that there’s just no time and money devoted towards the thinking.
Stacy Jones (09:52):
But that’s the same issue as an agency that we have. And it’s the same issue that all of these agency owners and managers that are listening in, that they have with their clients too, because brands typically are like, “Let’s just get to the meat and potatoes. We don’t want to actually have to think about how to get there. We just want to eat dinner. We’re ready.” And is a consistent issue in general about planning anything across, it’s going to require some sort of strategy and creative versus just like plug and play, and rinse and repeat being exactly the same as everyone else.
Guy Bauer (10:30):
Yeah. And I call that what a lot of brands do is they use default creative. And my explanation of that is, think about the public domain of marketing ideas. And that’s usually what other people have done. And so, what a brand will say is, “Well, yeah, we really like the Poo-Pourri ad. Just make that for us.”
Stacy Jones (10:51):
Guy Bauer (10:51):
And so, they take the Poo-Pourri ad off the shelf of the public domain, the default creative. There’s no creative decision made. The only decision is everywhere it says Poo-Pourri, insert our brand here, and it’s a kind of stinky copy and that’s the best it will be is a substandard copy that is not right for your business. The other thing is think of… I was telling my clients to think about the moon landing to prove that the idea’s worth more than the production.
Guy Bauer (11:25):
The moon landing is technically speaking… Just if you saw the moon landing and evaluated it from a technical standpoint, it is in black and white, obviously. It’s blurry. The audio is terrible. The camera is not balanced correctly, it’s kind of off-kilter and it’s just not good. It’s not cinematic. There’s no part of the moon landing video that is good, but in fact, why do we still feel something when we watch it more than 50 years later? Is that what is being shown is so good. The story is so good. It’s not the actual video or the material that clients are buying, it’s the thought, it’s the thinking.
Guy Bauer (12:11):
Think of Dollar Shave Club. That’s such a great ad. You are watching Dollar Shave Club not because it’s in 1080HD at 422, 50 megabits per second in a Rec. 709. You’re not watching it because the audio was at negative 48 [inaudible 00:12:30] or anything like that. You’re watching it because it’s a good idea. And whether it was shot on a Canon or Sony or an iPhone, doesn’t make any difference, because it’s funny. It’s good. It’s actually, I would say technically poorly well done in itself. It’s not color-corrected properly. There’s some audio issues. It’s not that great, but it is great because you’re watching the transmission of an idea.
Stacy Jones (12:54):
How do you start working with clients when they knock on your door and they’re like, “We are ready for our massive transformation into this B2B video world, where we’re no longer going to be sucking and boring.”
Guy Bauer (13:11):
How do we start? We start with obviously the strategy. So, the strategy is our secret weapon to allow us to get creative. When we try to go to war with our clients on an idea, ideas are completely subjective, so if you try to sell your client just on, “Hey, we really like this idea.” If our client isn’t sold on the strategic kind of a bedrock or concrete that lies underneath that idea, now we’re just fighting with the client on a, “I like it, the idea.” And the client’s like, “I don’t like it.” And guess what? The client’s going to win because they’re paying. So, we always start with strategy. The idea is that if we can get all to agree, not on an idea yet, we’re not even talking about video, we’re not talking about an idea. We’re just talking about a strategy. What does our ad need to say? Who is it talking to? All of that very dry stuff.
Guy Bauer (14:17):
And let’s just agree that this is the formulation of, like, “This is the box.” We’re defining a box that all of the concepts need to fit inside of. And what we find is the best step of the strategy phase, the part where we really get the buy-in with our clients and those key stakeholders to be bold and be creative as the competitive analysis step. So, what we do is we analyze our clients’ direct competitors and indirect, and you can do this, anyone can. It’s a great exercise. Look at two direct competitors and one indirect. Put on three columns, what they’re saying, how they say it and how we’ll be different.
Guy Bauer (15:08):
And what you’re going to find is in what they say. All of your competitors are mostly going to be saying the same stuff you say, that you think is so different about yourself or your company. And then how they say it, you’ll notice that they’re all saying it the same way as well. They’re either all going to have stock video compilations or spokespeople, whatever, they’re all going to be in the same general area. And then in the third column, how will be different, all you have to do, this takes no creative prowess at all, is just do the George Costanza of the first two columns, just what is the opposite. And how will be different, nine times out of 10 gets the stakeholders on the other side, the C-suite whoever we’re working with to go, “Yes, that is the DNA of our spot is the how will be different column.” Because you don’t need to be a marketing genius to understand that if you do consensus, all you’ll get back is consensus returns.
Guy Bauer (16:09):
You must be a contrarian in every… And there’s different degrees of being a contrarian, but for the most part, business strategy is all about taking a contrarian approach. It’s how your differentiator executives get that. So, that’s usually at that step where we earn the nod from the executives to like, “All right, we get it. We’re not going to do the same old formula, one analogy, or whatever that all of the other competitors are doing. We want to be different.” And that’s where we go. That’s where all the ideas come out of, yeah.
Stacy Jones (16:45):
So, you come up with the ideas, then you map it out, you show what your competitors are doing, and then you paint the picture of what they’re not doing and where there’s actually wins to be had.
Guy Bauer (16:56):
Stacy Jones (16:56):
And then what is the step after that? Where do you go from there, because you’re not ready to start shooting yet?
Guy Bauer (17:03):
No. And actually, we have no ideas yet, so the strategy has the persona, the competitive analysis, the mindset shift we have to make, that all gets boiled into a creative brief, which is really just five questions. Like who are we talking to? What’s the single most important message? What are our key differentiators? And what’s the perception of change?
Stacy Jones (17:27):
I think there’s four. [crosstalk 00:17:28].
Guy Bauer (17:28):
And then the fifth is that what’s the objective? Are we trying to get phone calls, get email signups? So, yeah.
Stacy Jones (17:35):
Guy Bauer (17:35):
So, there’s five objectives. That’s where all the strategy gets boiled down and synthesized into five key things. That’s it. Once our client approves that, then to be honest with you, the rest is easy because now we have our strategy bedrock. Now, it’s the fun part, we just come up with ideas. So, we have copywriters, art directors, and we just have fun. And our job as the agency as Umault is to just make sure that all the concepts we’re generating fit inside that box. And then we usually pick the top three, present them to our client and they pick one, and it hasn’t been a fight. Before we used to do such a thorough strategic step in our process, there would always be the fight over the creative. And it always downgrade to kind of default creative or very safe creative, because again, there was no strategic reasoning for why to do this bold creative, but now that we have the strategy, anytime our clients try to take the easy way out or the safe way out, we point to the strategy that they approved. And it usually like, “Yeah, you’re right. Let’s do it.”
Guy Bauer (18:57):
And from the concept selection, again, it gets easier and easier. It’s writing scripts and then doing storyboards, and then finally, the production is infinitely easy. Now, obviously, it’s still a challenge and all that stuff, but all of the heavy thinking work and all of the executive buy-in has been done by the time we shoot. And so, by the time we shoot to the time our clients get the first draft to the time they approve it is usually weeks not months. When I started out, we didn’t do this thorough creative development. It used to be, we rush to shoot, right? A client would engage us on a Monday, we were shooting the next Monday and then in post-production, the next three months because none of the pieces seem to fit. And we’re just trying to edit things and then changes in scope to reshoot something, and post-production lasted forever. Now, that we front-load all the creative shooting to post-production is literally two to three weeks out of the whole timeline.
Stacy Jones (19:57):
And that part can get really expensive.
Guy Bauer (19:59):
Stacy Jones (19:59):
So, that’s the part that clients need to be understanding of that, if you do front-load all of your planning and strategy and the creative of what you’re going to be doing before the shoot, you’re not going to have a lot of extra zeros added to your overall budgeting.
Guy Bauer (20:17):
Couldn’t have said it better myself. And it’s way cheaper to go back and forth in Microsoft Word or some a storyboard or sketches, it’s infinitely cheaper to do that than to try to fix stuff through VFX or reshooting and stuff like that. Yep.
Stacy Jones (20:34):
And now with your team, and I looked at a lot of your different spots that you’ve done and some really cool work, you all tend, I think, to do more live-action, like truly people, you’re shooting people, talking, engaging, acting. There’s a set versus all of the animated types and board videos. But there’s really not a difference in that process because no matter what type of production you’re going to do on the backend, whether you’re using real people or whether you’re using a voiceover and hand drawings or computer graphics, all of that front-loading is equally important.
Guy Bauer (21:13):
100% exponentially, more important. In fact, if it’s for budget or some other reason, if it’s not going to work with us in a client, I always advise them. My parting words are, “Listen, if you only had a thousand dollars to spend on this video, I’d much rather you spend a thousand dollars with a copywriter and a storyboard artist than a thousand dollars making the video. I’d rather you get a great script and shoot it on your iPhone, then you write a script and then pay someone a thousand dollars to shoot it.” So many times clients are like, “All right, well, we need to trim some money out of this budget. How about we write the script and then you guys make it.” And I actually say, “No, actually, that’s the reverse. We’ll write the script, then you just make it with your teenage son probably could shoot a great video.”
Stacy Jones (22:12):
Guy Bauer (22:12):
The more you front-load it with thinking and sleeping on it, that’s another key mistake a ton of clients make is they don’t allow the power of sleeping on it. They try to make quick decisions so that the ball keeps rolling, but one of your biggest sources of creative power is the ability to sleep on things, and just visualize in your head and your brain from 3:00 PM to 8:00 AM the next day, your brain is totally different. It’s going to see things entirely different. The more time you have to sit with a script or sit with an idea and let it kind of stew in your head, the more clear your decisions will be.
Stacy Jones (22:57):
I wanted to dive in and talk about… We’ve touched base on branded content, making content that is engaging and that is cool, but why is it that so much still feels like corporate with a corporate video? Like, is it that we forget to bring fun in? Is it that we just want to be like step, step, step, but how do you break that?
Guy Bauer (23:25):
That’s the billion-dollar question. I think what it has to do with why things feel that way is that there’s this false assumption that B2B buyers wear their suits to bed. That B2B buyers use words like disparate silos when talking to their spouse.
Stacy Jones (23:53):
You don’t use disparate silos when talking to your spouse? No, because I do.
Guy Bauer (23:56):
No, I don’t say that I’m going to optimize our lawn through a biweekly watering cycle of implementation plan.
Stacy Jones (24:10):
As long as you have seeded the grass, four inches apart in order to get the most optimal [inaudible 00:24:16].
Guy Bauer (24:15):
Right. Right, right. And so, somewhere in our lives, this corporate vernacular snuck in and we feel like if we don’t speak the language, we will not be taken seriously. And in B2B, our clients are not selling $20 things, right? These are, in sometimes multi-million dollar multi-year implementations. So, rightly so, B2B companies are concerned about appearing trustworthy. You can’t sell a $100 million thing going like this and being all goofy. What I would say is this is… And this is stolen from Blair Enns is, “Sales is a two-step process. Step one is you need to inspire your prospect. Make them visualize their desired future state.” Inspire their imagination of what could be, that’s step one in sales.
Guy Bauer (25:20):
Step two in sales is to reassure. That’s a late-stage prospect. They’re ready to sign a big check, but they want to know, will this work? If you try to inspire a late-stage prospect who wants to be reassured, it’s a mismatch. They don’t need to be inspired. They need to know the particulars and that’s going to work, same opposite. If you try to reassure an early-stage prospect who needs to be inspired, you’re not kick-starting their imagination. Where B2B brands, what they try to do is imagine the inspire video is a rockstar, is a long-haired cool rockstar. Okay? That’s the inspire video. And the reassure video is the business guy, the short hair wearing a suit. The inspire guy is the rockstar, just really exciting, but kind of empty underneath. And the reassure is the business guy with all the facts. What 99% of B2B brands do is they go, “Let’s just do both at once in one video.”
Guy Bauer (26:28):
And what do you get when you combine a long hair rockstar with a short hair business guy in the middle, mashing them together? You get a mullet and most brands are making mullet videos. And the mullet video starts with a mountain climber on the top of the mountain, right? That’s kind of inspiring. But then what they’re saying is, “Many companies have disparate silos of data in a cross-platform blah, blah, blah.” And it’s a mismatch. It’s a mullet. There’s nobody that’s going to find this enjoyable. And so, that’s why what we need to do is think about the journey that our prospects are on. And instead of trying to make one size fits all, just separate the two, making it inspirational one, that’s all rockstar, and then a reassure one, that’s longer with more facts.
Guy Bauer (27:21):
Your question was is why the videos always have that boring stuff? Again, that’s not boring. That kind of boring copy is not boring to someone who wants to be reassured, right? That’s not boring. That’s actually what they exactly want to hear. The problem is the reason why that copy is in 99% of B2B videos is it’s mullet videos, is that that’s the reassure copy alongside the inspire and it’s just mullet. It’s nothing.
Stacy Jones (27:51):
Once you’ve done these pieces in place, so you’ve gotten the strategy, you build the creative, what goes wrong sometimes in the actual production process that you see where clients could maybe be better prepared for it or better manage their own perspective?
Guy Bauer (28:15):
Yeah. So, if our client has been engaged in the process from an early stage, the production process is usually pretty boring to them. So, we have a feed that they can dial into, or they can come to the set. And usually, our clients are just answering emails, and every time we ask for feedback, they’re like, “Yeah, I got it. Cool. Looks good, great.” It’s where the client hasn’t been engaged from the very start that that’s where production is tricky because now, instead of seeing the storyboards brought to life, they’re just seeing an image for the first time in their life. And that’s where like, “Wait, wait, hold on. What are we doing now? What is this?” Or, “Let’s try this.” And a big mistake I see clients making is not making decisions, so having us do eight different line reads. Well, guess what? Every time we do an alt thing, that eats up time out of the budget out of [crosstalk 00:29:18].
Stacy Jones (29:17):
Guy Bauer (29:18):
And editing. And so, the biggest thing is once the decisions are made, all of the attention from executives and stakeholders need to be paid upfront and it makes production a breeze, but that’s where I’ve seen production goes sideways is there’s some miscommunication, and sometimes it’s our fault too. It’s when there’s a miscommunication of a not properly aligned expectation, that’s when the shoot day when the production can go out of whack very quickly.
Stacy Jones (29:51):
Yeah. I think the biggest negative to the entire creative world was the advent of the digital camera, where you don’t actually have real film that you’re having to use to shoot anymore because there’s no cost associated with actually shooting longer besides people hours. And people forget that you create all this content. Now, you’re going to have to have someone go through all this content and slice and dice. And the fact that you did 30 million takes of the same thing, and there’s just one eyebrow that’s different in it, it’s something that’s on the backend can add so much time.
Guy Bauer (30:30):
Yeah. And you’re exactly right. And that’s a good tip is don’t… One of my director of photographs calls it, “Don’t get too precious,” like you said, if there’s an eyebrow. So many times, we’ll be on set and I do this too, I do this too. There’s one thing like the actor is going up on a word and you want them to go down, and you’ll spend an hour and a half getting them to go up, and then after an hour and a half, you’ll go. “Yeah. Okay. That’s good.” And then you go in a post and you realize they were saying it the exact same… All 50 takes are the exact same way, and you on set were just being too precious about it. And what you’ve done is by wasting all that time, now you’ve… It’s still a 10-hour shoot day, so now everything else throughout the day has to be compressed.
Guy Bauer (31:24):
And you’ve now technically or you could have ruined better performances later in the day. Even though it’s free to roll on an Alexa, right? We’re not burning film, we’re still burning time. And so, yeah, don’t get too precious and keep in mind, we used to have this moniker in TVs, “It’s good enough for TV.”
Stacy Jones (31:47):
Guy Bauer (31:47):
Keep in mind, the human eye doesn’t see what you see. In our latest spot for Umault or two spots ago, there’s a big like fuzzy on the main talent’s eyelash that we totally missed. I can see it when I see the spot, not one person has told me they see it. Just because you know it’s there, it’s like a magic trick, right? Like you see it because you’ve seen it, you know how it’s made, but your audience is not there. They’re barely going to even watch the first 20 seconds of your spot. Don’t be too precious.
Stacy Jones (32:20):
I was on a shoot for extra, and we do them all the time and just different segments. And Mario Lopez in this case was voicing and interacting with the product. And I’m used to working with him, but he went out and he’s a professional. He had the copy, he was seeing it, it was coming up, he read it. And the producers turned to me in this one instance, expectantly and they’re like, “So any notes?” And I did like how he said one little thing on it, and then I’m looking around at this whole set and like, you know what? It was good enough. This is good enough. It doesn’t have to be, as you were just saying, it is good enough for TV, which means it is good enough for most things. And having things not be actually totally perfect where your client might have a little eyebrow twitch, because they’re like, “It did go up at the end and instead of going down at the end.” That’s okay to have, and you’ve saved so much time overall. That’s out there.
Guy Bauer (33:27):
And the other thing is that it’s a constant decision-making of weighing, is this worth it enough to spend the next 20 minutes to correct? Or is this next 20 minutes better spent doing something else for the other scenes or whatever? But sometimes though, feedback is totally valid. I remember many times our clients point something out and I’m like, “Oh, you know what? I never thought of that. Let’s do it again.” So, I do recommend speaking up if you have a thought, but listen to your director when they say, “No, we’re good. Don’t worry about it. No one’s going to see that.”
Stacy Jones (34:13):
What are any other things people need to keep in mind?
Guy Bauer (34:18):
So, this has been on my mind a ton the past few weeks. A big trap I see clients falling into is called go fever. So, I’m big NASA nerd, and go fever is a term that was coined in NASA, and it is fundamentally the reasoning for most of their accidents, Apollo 1, Challenger, Columbia. And in the case of Challenger, Challenger was scrubbed repeatedly from launching meaning had delays, either through mechanical or weather, it was being delayed, delayed, delayed. And go fever started to take root. And what go fever made everyone think was… The original mission of Challenger and [inaudible 00:35:06] missions is launch astronauts in the space and return them safely. Well, because go fever took hold, the mission slowly morphed into launch it and the returned them safely, kind of got dropped off. And so, anyone or anything that got in the way of their new mission, because go fever had taken a hold was silenced.
Guy Bauer (35:31):
So, the morning of, they ignored their own safety protocols on the frozen O-rings and launched it. Guess what? They achieved their mission. They launched it. It didn’t return safely. And so, so many brands get into the thing of, “This thing has to be live April 22nd, April 22nd, April 22nd.” And go fever takes over and they have blinders on and they’re just focusing on April 22nd. Guess what? You will launch it April 22nd. No one’s going to give you credit that you launched it on April 22nd. All they’re going to do is point to that it’s ineffective and it was a waste of our company’s money.
Guy Bauer (36:08):
There is no asterisk under YouTube videos, like, “Blah-blah-blah, 20 views, but asterisk. This thing was delivered in only three weeks. Isn’t that crazy? We all worked overnight and crazy hours to deliver this on time.” You get no credit. I’m sorry. So, I know that everyone wants it at April 22nd, but it’s more important that it is done right. You have to recognize when go fever is taking hold and you can [inaudible 00:36:39] the major symptom is that you’re making decisions based on timeline rather than effectiveness. Anytime you find yourself making decision based on timeline or sacrificing or cutting corners for timeline, that’s usually go fever.
Stacy Jones (36:56):
Yeah. I think that all of us got a nice wake-up call over the last year and a half with COVID because go fever came to a complete end where we couldn’t go. And we actually had to get very strategic about ways that we could launch anything. And I’m hoping from this that people are rolling with the punches a little bit more because we all got a little rebalancing right there.
Guy Bauer (37:22):
I think for as bad as COVID was, I think you’re 100% right. We’ve had so many good conversations with clients where their goal isn’t to just get the video now, it’s actually to make something effective. I think you’re totally right. Hopefully, it stays. I don’t know.
Stacy Jones (37:45):
We’ll find out.
Guy Bauer (37:45):
Stacy Jones (37:46):
Well, Guy, how can our listeners learn more about you? Where can they find you? All of this will be of course in our show notes, but there are listeners who are sitting here going, “I have my pen and paper right here. I want to write this down and talk to this guy about my branding and my videos.” How can they do that?
Guy Bauer (38:00):
Yeah. So, make sure you do have pen and paper because our website is umault.com, that’s U-M-A-U-L-t.com. That’s it. We have everything linked from there. We have podcasts, depths of the corporate video. We’ve got some free guides, seven ways to avoid making a corporate video. Everything’s there.
Stacy Jones (38:24):
Awesome. Guy, any last parting words of advice to our listeners today?
Guy Bauer (38:30):
I do. And it’s about being brave, and nobody writes Fortune or Inc Magazine or Forbes articles. No one writes those articles about marketers who played it safe. There’s no article that starts off with, “Bill Jones is this year’s marketer of the year. He played it 100% safe by the book and did everything in order to not get fired.” Like nobody writes those articles. And so, at the root of all this is a brave client. There’s every piece in our portfolio, we like to take credit of how creative we are. Are you kidding? On the other end was a client being [inaudible 00:39:22] with internal people, demanding them to be safe and giving them every reason to make safe decisions. There’s a client on every single piece in our portfolio who had to go damn the torpedoes, “We’re doing this and make the ultimate brave decision.” So, don’t discount bravery. That is what makes anything great.
Stacy Jones (39:49):
Well, that is an excellent note to end this on. Guy, thank you so much for joining us and shedding light on how to disrupt the boring B2B corporate video. Really appreciate all of everything and your passion that you’ve bought to this topic. And I know I learned something more than something. I have like a whole list of notes and I’m like, “My team is going to have to listen to this podcast,” because we have some work to do on our own things of positioning and not being boring because we work in a fun, cool field and making sure that people understand that. So, if we can do that, everyone else can do that as well. So thank you.
Guy Bauer (40:26):
I know. Thanks, Stacy.
Stacy Jones (40:28):
Of course. And to all of our listeners, thank you so much for joining us on another episode of Marketing Mistakes (& How To Avoid Them). I look forward to chatting with you this next week. And just as a reminder, here at Hollywood Branded, we are so passionate about all things branded content, and we believe that influencers and celebrities and TV, film and music can give your brand power and sales. So, if you are interested in leveraging other people’s content versus making your own, make sure you reach out to us and we’ll have a chat. Have a great day. We’ll talk to you soon.