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Last column, I described the Concept Development Matrix: seven criteria to evaluate creative solutions for business or educational media projects:
1. Content Origination
2. Appropriateness
3. Feasibility
4. Visual & Narrative Expression
5. Interesting Media/User Experience
6. Stylistic Compatibility
7. Results Oriented
Now let's apply the matrix to a sample program concept. This one comes from the work of an old colleague.
To create a compelling concept, the media writer must be totally familiar with program goals, target audience profile and content. (It's the same as William Goldman's advice to screenwriters: "...you have to know what is absolutely crucial in the telling of your story-what is it's spine?"
Here is background on the "spine" of the case study project. The overall goal was to encourage employees at company headquarters to participate in a free glaucoma detection-screening day. The company funded a short video project (about 4 to 5 minutes). Content revolved around research into the incidence of glaucoma, its debilitating effects and the relative ease of glaucoma screening. Obviously, the video would also touch on specifics of screening day logistics-time, place, appointment sign-ups, etc.
Drawing on his analysis of this information, my colleague struck upon a simple, yet effective creative concept: use of subjective camera point-of-view. As the narrator described facts about glaucoma, we sit behind the steering wheel of a car, driving to work. As the subjective camera shot pulls into the parking lot, we see a banner promoting the upcoming free eye screening. The camera enters the building, moving through various associates to reach the desk. Again, everything is shot through the eyes of a single employee.
When the clock on the wall shows it's time for the employee's eye screening, the camera moves down the hallway to the screening area. We sign in. The eye examination technician greets us. We see the testing instrument being adjusted and the test is completed, all from the camera's viewpoint.
Why does this concept work for me? Just apply the matrix:
Content Origination: The decision to shoot subjective camera P.O.V. is firmly embedded in program content and goals. The subject matter is eyesight-and this technique emphasizes the myriad ways we rely on sight each day. The concept is not imposed "blindly" on the subject matter. Rather, the content suggests the concept. I can't tell you how many corporate programs I've viewed with arbitrarily imposed concepts. For instance: "Oh let's do a take-off on Twilight Zone or the opening sequence of Star Wars" (the galaxy explanation text roll). I've seen far too many training programs that employ game show knock-offs to convey content.
Next, is the concept appropriate? We've already seen how it's well suited to the subject matter. It's also appropriate for the target audience. By example, it illustrates what they will do and experience if they participate.
The concept is eminently feasible. It's a simple location shoot mixing voice-over narration with some actuality audio. It fits the relatively small budget and need for quick turn-around.
Visual & Narrative Expression: This concept works as a complete storytelling viewing experience. The subjective camera P.O.V. is unusual enough to provide for imaginative shooting. And the narration's factoids about incidence and seriousness of undetected, untreated glaucoma were scripted to underscore the sensory experience most take for granted: vision.
Interesting Media/User Experience: Again, the picture/sound combination and juxtaposition creates viewer interest. The subjective camera technique might become tedious in a presentation lasting a half-hour or more. In a four to five minute motivational "infomercial," it offers a satisfactory viewing experience.
Stylistic Compatibility: Since this was a short program, the use of a single narrative technique and style works fine. Again, in a longer program, the writer might want to supplement the style with other program formats and techniques (an interview with a physician on the devastating effects of this condition, as one example).
Results-Oriented: The concept focuses on motivating the target audience to action by presenting a potential danger (blindness) followed by a simple step to prevent the danger (a free, convenient eye examination).
Taken altogether, I find this an elegant solution to a media communication challenge. Like most elegant solutions, it appears nearly inevitable on close examination. Yet, the solution is not necessarily obvious when you begin. It may come only after false starts and an exploration of less suitable formats and techniques. Elegant solutions, ones that work within the constraints of the problem at hand, are the hallmark of genuine creativity.
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