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News from October 2005

By October 6, 2005January 17th, 2020archive

Peppershock nominated for multiple awards!

Peppershock Media is proud to announce their nomination into two video industry competitions. One nomination comes from The Academy of Digital Video Arts. Peppershock entered their production of the 90th Anniversary Promo for the Snake River Stampede.
The other nomination is from the !nspire Awards.  Peppershock again entered the Snake River Stampede Promo piece, as well as a promo for the Boise Hawks.
Wish us luck!

Peppershock videos on Google!

google logo

Peppershock received the following message from Google: “Google Video would like to include your videos in the Google Video index to let internet users find, search, and view your content. I believe that Google Video can help you increase the distribution of your video content and the number of visitors to your site.”
Go to and search “peppershock” to view our work!

Idaho International Film Festival — September 29th – October 2nd

A short film produced by Peppershock and Associates on the big screen! Saturday, October 1st at the Flicks Theatre in Boise, and on Sunday, October 2nd, at the Egyptian Theatre.

IFF logo

The short film, “No Such Thing as a Free Lunch,” was written by Drew Wattles, and directed by Rhea Allen. The film is a campy, black and white with a 1950’s feel, filmed in Nampa, Idaho. You’ll never look at a picnic basket the same way again!

“24 Hour Hand Carwash-a-Thon”

Presented by Peppershock Media & J’s Ultimate Hand Carwash

To Benefit the American Red Cross of Greater Idaho The first day started out rainy, but then the last 8 hours of the carwash proved to be the busiest J’s Ultimate car washHand Carwash has ever been. KTVB Channel 7 came to do a live shot on-site for their 10 o’clock news Saturday night, September 24 th and KTRV Fox 12 aired a segment on their news as well. We were able to donate twice as much as what we anticipated being that the first day was all rain. 100% of the proceeds went to the American Red Cross of Greater Idaho to help supplement the Idaho Disaster Relief Fund. Peppershock Media produced the PSA that aired on KTVB Channel 7 and KNIN Channel 9.  Also, Paul J. Schneider did an excellent job promoting the event on KBOI – AM radio.  We also want to say a huge thank you to all those who helped out for such a great cause: International Minute Press Downtown,,  Lynne’s Creations, Creative Balloons , Burger n’ Brew on Fairview, Brown’s Cottages/Pam Brown, Nagel Beverages (Pepsi), Dominoes Pizza, Subway , Jeff Keller of Key Bank, Ida-Gem Promotions, Kenny Pitman of Professional Employee Services & his son who is a great Cub Scout!

Tips for Radio & TV Advertising

graphFrequency is likely the most important factor to consider in placing your ads.  The next most important is reach. Frequency refers to the number of times an average listener or viewer will hear or see your message, whereas as reach refers to the number of people who will hear or see your message.  It takes multiple exposures of your marketing message for it to be effective, so you will want to make sure that demographic we target will hear or see your spot multiple times. Once you have a high enough frequency, if there is still money left in your budget, we can increase your reach in order to target a larger group of potential customers.

Here are two frequency scenarios: 1) Two ads per day, three weeks per month, for three months 2) One ad per day, two weeks per month, for nine months.

Both of these scenarios have the same number of ads, but not the same frequency or effectiveness.  It may appear that the two scenarios would have the same frequency, but frequency is calculated per week — and in the above two scenarios a different number of ads would be running per week.  The second scenario calls for only one ad per day, almost no frequency, especially since the ads will likely run randomly – morning, afternoon and evening.  You could ask for specific or “fixed” times for those ads, so they would continually hit the same audience, but realize this could cost you double depending on the time slots desired.  Because of the low frequency, the second scenario is going to be a waste of your money unless you tie in to a sponsorship of some kind that will add value to the ad placement. Sponsorships automatically provide “fixed” times that will concentrate your efforts without the extra cost.  Sponsorships for weather, news or sports can typically be purchased up to seven days a week. Traffic reports, Monday through Friday, is also an option.  People listen or view more attentively to these features, which means you tend to get a more focused listener or viewer who is in turn more likely to watch or listen to what your ad has to say.  If you do choose to include a “sponsorship” in your radio or television advertising campaign, here are some of the benefits you would typically gain

• Acknowledgement as the sponsor of the weather, news, or sports immediately before the report.  (“This weather update is being brought to you by the XYZ Company.”) Acknowledgement immediately following the report.  (“This weather update has been brought to you by the XYZ Company.”)  A 10- or 15-second live commercial adjacent to the report.

• A 30- or 60-second commercial that will play within the same part of the day as the report you sponsored.

When you want to start planning your TV and/or Radio advertising we can derive a schedule for you that will maintain the correct mix of reach and frequency. We will base your air-time schedule specifically on your demographics and your budget.  We have statistical software that can help determine the best station(s) to utilize based on your target market that is specific to the Treasure Valley .  Not only can we help you plan and buy your air-time we can also create & produce your commercials for you too.

5 Steps to Great Video/Media Production

Every great production begins with a great plan.

1- Information Gathering & Concept Development

In order to ensure proper creative elements we start by digging deep for information… what is your audience? Who will benefit? Why? What is the hook? What are all the details of your product or service? What are you trying to promote or sell, teach or tell? What else can you come up with about this project? Before you begin to think creatively, we need to do a quick overview of the project. Determine what you hope to accomplish. Identify the intended viewer. Explain how you want your video to affect that viewer. Do you want to motivate, inform or just cause your viewers to relive a warm touchy-feely memory? Try to narrow down the project to a single sentence that entails everything you want to accomplish and write it down. Now, take a look at all the potential productions elements and then allow your time-line, budget, available resources and the appropriateness for the project to dictate what goes into your outline. Some elements may include, but are certainly not limited too: voice over talent, actors/actresses, specific locations, costumes, makeup, set design, use of a steady cam, jib arm or camera crane. Once you’ve defined you project, summarize it in a paragraph so that we can keep that paragraph in front of us as a reminder of what is crucial to having a successful project.

2- Chose a Technique and Format

A portion of the planning will involve selecting a format or combination of formats. There are a variety of formats and techniques to utilize, some include:

• Interview – possibly onset with a host seated behind a desk or in a chair with the person being interviews seated opposite the host in a chair. The interviewer may be seen or unseen.

• Documentary – a formal documentary can use a voiceover to explain or describe events or information. An informal documentary can be comprised of informal onsite interviews with actual participants that create real life comments.

• Video Magazine – a host is behind a desk or newsroom platform but two hosts banter between themselves, the tone is usually lighter and creates entertainment value.

• Story Based – A complete script with actors and a performance that results in desired outcomes. This is the most sophisticated and complicated format because it involves organizing actors, blocking shots, choreographed motions – all with the challenge of making it appear as though it is a real life scenario that is not scripted, even though it is scripted to the very moment a breath is taken. These scenes can be shot in a controlled environment in studio or on-location.

• Talking Head – This is the easiest format, but most boring. We could be sure to shoot reaction shots of the interviewer “nods,” so we can edit to the reactions in order to compress the guest’s answers without a jump-cut, or a shot that is back to back with another very similar shot.

3- Select a Style

Selecting a style will convey the feeling you want the project to convey, is it formal or informal? Serious or silly?

4- Consider all elements needed
• Is there footage that already exists? Is there a seasonal element or a specific time, month or occurrence that needs consideration? Do we need before and after shots or cause and effect elements? Do we need demonstrations? Comparison elements? Industry experts? Are there any legality elements to include? Do we have the time for each element? Do we have the money in the budget?

• Is the element stylistically fitting to what we are trying to accomplish?

5- Powerful Testimonials

Testimonials are good to include whenever possible. Some ways to incorporate testimonials into your project is to interview a real group of everyday people who are doing the activity or using your product. The least expensive way to include this step is to bring all the people to one location and then shoot them. However it can be visually dull if they all have the same background, so we can use the same location but plan on different set-ups within that same room or area. To obtain a proper testimonial the interviewer will sit just left or right of the camera lens and establish strong eye contact with the person, rather than having them looking directly into the camera lens. This makes it more comfortable for the person giving the testimonial, mostly because a camera lens can sometimes be intimidating. Only when a person is completely comfortable on-camera and event hem only when what they are going to say is a personal appeal to the viewer does a person talk directly into the camera. If we identify a particularly strong testimonial, we may want to arrange to shoot b-roll footage (shoots with out sound) of that person doing what they are talking about in their testimonial. We can shoot M.O.S. or man on the street reactions to a question, when we do this we’d be sure to have these folks sign a simple image or media release form stating that we can use their clip without having to pay them. Also remember that an expert testimonial can qualify or back up your product or service and can be an extremely valuable step in creating a successful video.

Pre-production planning for your video project will enhance creativity and ensure a successful video production. Instilling a time-line, a budget, selecting the appropriate formats, styles and elements for your production will help you to influence and motivate your targeted audience.

Drew Allen

As co-owner and Chief Operations Officer, Drew has many duties. Drew shoots, edits and makes magic with motion graphics while creating campaign deliverables using his master-class working knowledge of software, equipment, social media and service-oriented personality. As COO, he orchestrates our team and assures our high quality standards. Read more about Drew.