At one time informational video programming produced by corporations and educational and healthcare institutions was called "non-broadcast video" but this negative definition often seemed to trivialize a very important form of communication. It was briefly called "institutional and industrial video," which was more positive, but awkward. Today the term "corporate video" has become the accepted term for all informational video programming, even when the producing agency is not a for-profit corporation.

With advances in distribution (projection, DVDs, Webcast, etc.) video has virtually replaced all other audio and visual media previously used by corporations and institutions. The cost of video production today is competitive with slide shows and much less expensive than any format of film production.

Uses.

Corporate video is used to inform, educate and persuade a variety of publics. These can include:

1. employees
2. clients/buyers
3. consumers
4. the general public

1. training
2. internal communications
3. public relations (external relations)
4. sales and marketing

The writer may be an "in-house" employee of the corporation or institution that wants to use video for communication, or he/she may be a freelancer brought in for a particular project. In either case, research will be required to determine the goal of the project (what management wants to accomplish with this video program), the target audience, and the objectives, which may be more numerous than those for a commercial, but are otherwise very similar.

As with commercials, objectives are written from the point of view of the audience, and the better the writer understands the target audience, the more effective the resulting script will be. In-house writers may have a slight edge over freelancers in understanding the organization and its "culture." Objectives should state what the viewer will:

1. know,
2. feel,
3. and do (or be able to do) after viewing the video program.

While budgeting is not a function of the scriptwriter, corporate managers require much more information than broadcasters do about what will be involved in a production project so that they can develop realistic budgets. The document used to convey this information is often called a "treatment" and it consists of the information we have already been including on cover sheets for broadcast continuity projects, plus an outline of the script. The outline should be brief, but should include the number of scenes and the number and types of talent required. A model for a treatment will be included with the assignment for the final project.

Production and Post-Production.

Freelance writers will frequently submit their script, work with the producer on some early re-writes, and then move on to other projects. In-house writers, however, are often closely involved in the production process (perhaps serving as producer or videographer as well as scriptwriter) and may work with the editors throughout post-production.

Whether an in-house employee or a freelancer, the corporate scriptwriter must insist that all managers of divisions affected by the video project review the script and sign off on an approval page. It is much less expensive to make changes to the printed page than to a "finished" video, so managers must be held accountable for the accuracy of the content while it is still in script form.

Formats

Many people think of corporate videos as boring, talking-head pieces that are painful to sit through. A creative scriptwriter can often find a more effective way to communicate even the most mundane of information. Some formats include:

1. On-Camera Spokesperson. This can be a professional narrator or a corporate manager who can guide the viewer through the material to be communicated. While usually not the writer's call, the use of a manager should be discouraged unless the manager is "telegenic" and comfortable with the video medium.

2. Voice-Over. In this format the B-roll video carries the bulk of the message with an unseen narrator explaining what the viewer is seeing. It has the advantage that the voicing can be done by a professional geographically very far removed from the shooting location.

3. Interviews. This is actually a weak way to convey information, but it can be useful if we want to "personalize" the information and "put a face" to a corporate policy.

4. Documentaries. This format could be a mix of 1-3 and can bring life to otherwise boring information. It is most often used for historical pieces or projects where we want the audience to understand the "why" behind the information being communicated.

5. Narrative (Dramatic) Formats. We will cover the narrative in more detail in Unit #16, but presenting information in the form of a story can be very effective and often increases retention.

While some long-form corporate video projects may lend themselves to the teleplay format, most are short enough that the multi-column format for single-camera production is most appropriate.

Special Considerations for Corporate Scriptwriting.

1. Learn about OSHA regulations and make sure all scenes can comply fully.
2. Think visually and avoid the "talking-head" stereotype of corporate video.
3. Use active voice and action verbs.
4. Avoid the use of "should." Use "will" instead--be positive.
5. Maintain an informal style, even when your information comes from a tech manual.
6. Repeat important concepts, especially where safety is concerned.

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