Not just content.
An arsenal of formats.

Video components are individual moving image modules developed for a specific task within the Customer Journey. These include, for example, header videos for a first impression on a website, video bullet points to explain an offer, social media clips for organic visibility, or video creatives for ads.

Unlike a single film, video components are planned as a cohesive system from the start. Each component fulfills a specific function, while visual language, story, and brand impact remain connected across all formats.

A classic corporate or image film is usually a self-contained video that tells a larger story in a single format. Video components distribute this story across multiple, specifically developed formats and touchpoints.

A header video must convey atmosphere within seconds. A social clip needs a strong opening. An ad should trigger a specific reaction. A video on an offer page must provide orientation. The individual components can originate from the same strategic and visual foundation, but are designed for their respective tasks.

The same video does not automatically fulfill the same task on every channel. People on a website, in an Instagram feed, before a YouTube ad, or in a newsletter are in different situations with different expectations.

A video that can calmly build atmosphere on a website might start too slowly as a social media clip. A performance-oriented ad usually needs a different opening and call to action than an organic post. Video components are therefore adapted to the usage situation, platform, format, and goal of the respective touchpoint.

Our video components include header videos, video bullet points, Fluid Frames, organic social media content, video creatives for Meta Ads, videos for YouTube and Google campaigns, moving image modules for newsletters and CRM sequences, and video loops for on-site screens.

Which components make sense depends on the Customer Journey, the channels used, and a company's current communication gaps. Not every company needs every component.

No. Video components are not interchangeable standard templates where only a logo is inserted. The formats can be systematically planned and efficiently produced, but their content and design are based on the respective brand, target audience, and usage situation.

Recurring structures ensure speed and consistency. Story, motifs, statements, visual language, and tonality are developed individually. This creates a recognizable system without the content appearing generic.

A header video is a short, atmospheric moving image component in the upper area of a website, landing page, or category page. It conveys within seconds what a brand stands for and the feeling associated with its offer.

A header video does not have to explain the entire service. Its most important task is to create a strong first impression, make the positioning visually tangible, and draw people further into the page. Content, length, and movement are adapted to the respective page and its objective.

Video Bullet Points are short mini-videos. Each one visually highlights a specific benefit, offer component, or topic. For example, they can show rooms, services, products, processes, or special features. The surrounding text provides additional information.

Video Bullet Points help people categorize content faster. Instead of a long film, they create a series of clear visual entry points. These are used exactly where an explanation is needed. They are especially useful on offer pages, detail pages, and modular website sections.

Fluid Frames are flowing video areas. They are used within a website as atmospheric transitions, visual separators, or large-format experiential moments. They give a page depth and movement without automatically telling a complete story.

Fluid Frames are particularly suitable for creating an emotional connection between content sections. They can convey atmosphere, materiality, environment, or brand identity. They can be combined with text, interactive areas, or spatial web experiences.

No. Video components do not automatically replace a website's information architecture, user guidance, or technical quality. They enhance a good website by making content more understandable, emotional, and engaging.

Therefore, before production, it should be clarified where a video component truly serves a purpose. For an existing website, individual areas can be specifically supplemented. For a more comprehensive relaunch, video, page structure, and Customer Journey can be planned together from the start.

Videos can affect a website's loading time if files are too large, integrated inappropriately, or too many video elements load simultaneously. Therefore, file size, resolution, compression, hosting, and loading behavior must be considered during technical implementation.

Not every page section automatically needs a video in maximum quality. Depending on the use case, adapted versions, preview images, lazy loading, or different files for desktop and mobile may be useful. The exact technical integration is coordinated with the existing website structure.

Yes. Video components can be designed and prepared for mobile use. It is not always enough to simply display a wide desktop video smaller.

Important motifs, people, texts, and movements must remain recognizable even on narrow screens. Depending on the component, custom crops or alternative portrait and landscape versions may be useful. File size, autoplay, and placement within the mobile page must also be considered.

Organic social videos and video Ads pursue different goals. Organic content regularly builds visibility, proximity, recognition, and trust. Video Ads are specifically placed to draw selected target groups' attention to an offer, a campaign, or a next step.

Therefore, both formats often require different entry points, dramaturgies, and calls to action. An organic post can be more entertaining, offer insights, or continue a story. An advertisement must quickly reveal why the content is relevant to the addressed person.

Yes. The same core footage can be used for organic social media content and paid advertisements. However, the final videos should not necessarily be identical.

From a common pool of material, different hooks, lengths, sequences, texts, and Call-to-Actions can be created. This keeps the brand's visual language consistent, while each variant is tailored to its specific task. This multiple use reduces unnecessary new productions and simultaneously allows for targeted testing of different messages.

Meta Ads primarily appear in scroll-heavy environments like Instagram and Facebook. They usually need to demonstrate relevance very quickly and often work well in short, mobile formats.

YouTube and Google video ads can address different usage situations. Depending on the campaign, more time is available for explanation or storytelling. Placement, format, and user intent also differ. Therefore, the material is not only technically exported but also adapted in terms of content to the platform, campaign goal, and target audience.

No. The right length depends on the content, platform, and goal. A short video can grab attention or convey a single message. A longer video can be useful if a story, a process, or an offer requiring explanation has sufficient tension and relevance.

It's not just the number of seconds that matters. What matters is whether each section provides a reason to keep watching. That’s why the concept considers the opening, information density, dramaturgy, and payoff together.

Many video components should remain understandable in their core message without sound. This is because website videos, social media content, and offline screens often start muted or are viewed without sound.

This can be supported by clear visual action, understandable motifs, text overlays, or subtitles. Sound, music, and voice can deepen the impact but should not be the only information layer in every usage context. Which solution makes sense depends on the respective touchpoint.

Yes. A modularly planned video system makes it easier to test different intros, messages, visual sequences, and calls to action. Especially with social content and ads, the same topic can be told from multiple perspectives.

This means a full shoot doesn't have to be organized for every new variant. Existing footage can be re-combined and expanded with additional scenes. The evaluation then shows which approach works better for the respective target audience and touchpoint.

In newsletters, videos are often embedded via animated previews, GIFs, or clearly recognizable video thumbnails that lead to a website, landing page, or video page. This gives the email visual movement without a full video having to play directly in the email program.

The video component can announce offers, incorporate seasonal content, continue stories, or remind existing customers of relevant services. It is crucial that image, text, and landing page are planned together, and that the video display is not used merely decoratively.

Video components for offline screens are short, usually repeatable moving image loops for displays in reception areas, exhibitions, hotels, restaurants, shops, showrooms, or waiting areas.

They can provide orientation, highlight offers, convey atmosphere, or draw attention to additional services. Since people often perceive such screens only briefly or without sound, the content must be quickly understandable and visually clear. Format, duration, and design are adapted to the screen, location, and viewing distance.

A shared visual language increases brand recognition across different touchpoints. People thus don't experience a different brand on the website than on social media, in the newsletter, or on-site.

This does not mean the same video must play everywhere. The individual components can differ in pace, length, and content. However, colors, motifs, imagery, attitude, and the central story should clearly belong together. This creates a consistent brand experience instead of a collection of independent individual measures.

Yes. A strategically prepared shooting day can deliver material for multiple video components. For this, it must be determined before production which touchpoints, formats, motifs, and messages will be needed later.

In addition to a larger main story, for example, short social media sequences, website elements, ad variations, atmospheric details, and footage for newsletters or offline screens can be created. However, this does not mean that every shoot automatically yields an unlimited number of high-quality videos. Scope and yield depend on the concept, shooting time, motifs, and desired quality.

Yes. Existing films, raw footage, social clips, and other visual material can first be reviewed and organized by quality, content, and potential function.

Suitable material can be re-edited, combined with current footage, or adapted for other formats. During this process, we check whether image quality, usability, brand impact, and technical format still meet current requirements. New productions are then specifically planned where material or an important message is truly missing.

The content database is the organized infrastructure behind video components. It stores suitable footage, scenes, and finished formats, ensuring relevant material can be found and reused later.

This means you don't need to produce everything from scratch for every campaign, season, or website update. Existing material can be recontextualized, combined differently, or supplemented with new footage. The content database is not a single video component, but rather the foundation for long-term usability, organization, and faster development.

The required formats are determined before production, based on the intended touchpoints. Websites, Instagram Reels, feed posts, story placements, YouTube ads, newsletters, and offline screens can require different aspect ratios, lengths, and crops.

Therefore, material is planned and shot to ensure key visuals work in the necessary variations. Not every shot can be converted to every format afterward without a loss in quality. The planned distribution channels should be considered during conception and shooting.

Development begins by asking what role moving images should play within the Customer Journey. This involves looking at offers, target groups, existing content, channels used, and relevant touchpoints.

Then, the required components are prioritized and combined into a production concept. This is followed by shoot planning, production, post-production, format adaptations, and the structured storage of material. In an ongoing collaboration, new insights, seasonal topics, and evaluation results can be incorporated into subsequent productions.

Internal effort depends on the scope of production and the planned content. Initially, we primarily need information about target groups, offers, common customer questions, existing material, and past marketing activities.

For production, contacts, team members, rooms, products, or organizational approvals may be required. By consolidating preparation, decisions are clarified as much as possible before shooting. This avoids starting a completely new approval process for each individual video component.

Both are possible. A one-off project can cover, for example, the most important website components or a clearly defined campaign need.

An ongoing collaboration is suitable when offers, seasons, events, or campaigns change regularly, and new content is continuously needed. Existing footage can be reused and specifically supplemented. The most suitable approach depends on how dynamic your company's communication is and how many touchpoints are regularly used.

There is no fixed number that makes sense for every company. The need arises from the Customer Journey, the channels used, the most important offers, and existing communication gaps.

One company might start with a header video and a few video bullet points. For another company, social media content, ad variations, or offline screens might be more urgent. The goal is not to produce as many videos as possible, but to select the components that fulfill a specific task.

Yes. Modular video components can be specifically adapted to seasons, events, offers, or campaigns. This does not necessarily mean the entire visual communication needs to be reproduced.

Existing footage can be recombined and supplemented with individual seasonal scenes, texts, or calls to action. A well-maintained content database facilitates these updates because suitable material can be found and reused more quickly.

The effectiveness of a video component is evaluated based on its specific task. For a social video, playback duration, reactions, profile visits, or clicks may be relevant. For an ad, inquiries, purchases, or cost per result might be the focus.

On a website, interactions, usage of specific page areas, and completed actions can be observed. Newsletters and CRM sequences, in turn, require different key figures. It is crucial not to evaluate all components with the same metric, but to define in advance which next step they should support.

Costs depend on the strategic and production scope. Relevant factors include the number of components needed, shooting duration, team size, locations, actors, equipment, post-production, and required format variants.

Whether existing material can be used or new footage is required also influences the effort. Therefore, a video component system is not calculated solely based on video length. After analyzing the desired Touchpoints, an appropriate scope can be prioritized and offered transparently.

Video components are particularly suitable for companies that engage with multiple digital or physical touchpoints and want to convey a consistent story.

This approach is useful when offers need to be explained emotionally or visually, new content is regularly required, or a lot of video material already exists but is not yet systematically utilized. This can include companies from tourism, real estate, architecture, culture, retail, hospitality, and experience-oriented industries, among others.

Yes. A company can begin with a single, particularly relevant video component. This could be a header video, a series of video bullet points, or a set of advertising variants, for example.

It is important to plan the first building block in conjunction with the Customer Journey and future distribution channels. This allows the system to be expanded later without having to fully redevelop visual language, material, and strategic foundations for each new component.