Who we are
Originally being a writer, Daniel Godor‘s way into filmmaking started off creating concepts and scripts. When he was asked to run a production, he jumped in at the deep end. There was no other choice but to learn while doing, and he never regretted the decision. Daniel still writes concepts but is very happy that he can also take care of how his ideas are being put into action. Daniel is currently living in Italy and is MINKE & GODOR’s co-founder, CEO and creative producer.
„I love film, especially Italian Neorealism and Federico Fellini. Besides film, I greatly enjoy reading, listening to records or simply going out to observe – which is my favorite way to find the next mood I want to write down and show.“
Sebastian Minke’s life was and still is much about film. He worked in an arthouse-video rental store, as a film projectionist, member of board and CEO of a cinema, and he curated film screenings in Berlin and Tønsberg. He started working with filmmaking 20 years ago and has experience as an editor, postproduction supervisor, title designer, production manager, but first and foremost as a producer and director. Sebastian is MINKE & GODOR’s co-founder & CEO and lives in Norway.
„I love the films of the French Nouvelle Vague and John Carpenter. And many more. I think that one of the strengths of film is that they can put us in a certain mood. Similar to music in a way. That’s what I like to do, films that create a mood that supports and sells the story. Or the message – or the product.”
What we do
The secret of being a bore is to tell everything.
We are convinced that presenting real estate has to take a new direction. Film is a powerful tool that can create desire. Desire, however, isn’t addressed by explanatory means. Spelling out facts is rarely sexy. If you want a film to entice you, it has to be cinematic. Cinematic means poetic. And poetic means not to say it directly. We are convinced that teasing works better than showing.
This approach works very well in an architectural context. We believe that every building has a unique identity, and we strive for capturing that essence to present it cinematically. Client profiles and target groups have been shifting during the past ten years, demanding a more creative, aesthetic, witty and authentic tone. Our films meet those demands. They don’t answer questions, they create desire.
Film first, 3D second
Traditionally, a real estate film depends on renderings made by 3D-studios. These renderings are usually made for showcasing real estate on websites or in a brochure. Once the renderings are done, they are forwarded to the film makers, confronting them with an often far too clean and, frankly, dead set they can’t alter. We would like to turn this workflow upside down.
When we make a film, we want to tell a story, and the story must be visible in the renderings. You can’t stage a newly wed couple in an interior that looks like it came straight from a catalogue. That’s why the concept of the renderings has to begin with the film and not the other way around. Thus, we come up with a set for the film that contains all the assets we need to tell a good story. Then, we commission renderings for the film. In a second step, we have those renderings cleaned up slightly for other purposes which is easier and more efficient than giving life to renderings that weren’t made for storytelling.
We invite you to contact us first if you need a film – and to get some stellar still images on top of your stellar film!
This type of film is an excellent choice for a teaser or a tight budget, given that the plot isn’t too complex or includes pricy actors.
This type features 3D only, no real footage and no actors. A pure animation is a good choice if you want to take freedoms regarding camera angles and movements that would be costly or impossible with real physical equipment.
Side by Side
This type has both 3D and real footage but without being merged into single shots. You may or may not have actors in your real footage. This type is ideal if you want to combine the advantages of the previous formats and if you need to show an object that isn’t yet built and want to feature some of the real life surrounding the object.
This type features 3D merged into real footage (and the other way around). You may or may not add actors. This type is usually the most complex but gives you all the advantages of the previous three types. Embed your 3D into real environments, tell a story where real and 3D are merging so that you can’t tell what’s real film and what’s not and have actors move around your 3D object.
Haste makes waste
Please consider that making a good film takes time and plan at least three months ahead.
Planning the shooting can take up to eight weeks. The phase following the shooting, the so called post-production (editing, compositing, grading etc.), may take up to an additional four weeks, depending on the complexity. So, if you need a film in four weeks, you should consider postponing the deadline or to not make a film at all – unless it’s a short outdoor movie with no 3D. If you want something more complex and have little time, the stress on all sides will be great, and the result might be lackluster.
„I’d rather have it right than right now“ is a good motto.
Also, please consider that creating the 3D requires a good amount of time. Even if you have all planning materials ready, creating complex 3D environments can take up to a few months.
Now that you have a ground orientation, let’s move on to phase 2.
Making a movie in 12 steps
We find out, where you are and support you in your creative play to find out what works best for your project. Once we have settled on a few ideas, we can put a rough price tag on them so that you know what is within your budget frame. On that base, we create a rough concept, usually within two weeks of time. The concept needs to be commissioned and paid for separately.
2. Rough Concept
We contact you as soon as the rough concept is completed. Two rounds of feedback are included in the price for the concept, in case you might wish for changes.
3. Detailed Concept and Quote
Once the rough concept is approved, we present you a more detailed version of the concept along with a quote. Another round of feedback is included in this process. Once the concept and quote is approved, we can move forward to pre-production.
At the beginning of this step, we prepare a timeline that includes all relevant steps as well as required release loops. In other words, the timeline shows what we are doing, what you need to do and when in order to get the finished product on time. The timeline requires your approval.
Depending on the size of the project, we provide you with a detailed storyboard and shot list, where every shot is visualized. This is the most time consuming part of the entire process. Think of three to four weeks, including two feedback rounds. The better we are prepared, the smoother the rest of the process.
Once the storyboard is approved, we move on to contacting our personnel to schedule the shooting and, if necessary, the 3D environment. We are going to involve you as much as necessary in the process. You may choose from different 3D studios, depending on the desired quality and price. If a 3D environment is needed, you have to send us all necessary planning material, i.e. floor plans, sections, materials etc. The earlier the better. These plans have to be final. Later adjustments are going to be charged separately.
As soon as the planning is finished and approved, we put your ideas into action. Shooting can be done almost anywhere: outside, inside a studio, using a drone or a helicopter, with or without actors, depending on the story we want to tell. Shooting is usually a quick process. While the planning takes weeks, shooting only takes a day or two.
The 3D environment is created as soon as all relevant materials have been delivered. Depending on size and complexity, this process may take up to a month of time and includes several feedback rounds, one for the architecture itself, then one for the chose camera angles. Another one for the interior design and, finally, one for light and overall look.
9. Rough Cut
When we have shot the real footage and have the first 3D-drafts, we’ll put them all together and create a rough cut, possibly already with a draft of the soundtrack (provided it’s custom made) or, alternatively, with a temporary track. The rough cut is all about tempo, choice of motifs and overall edit.
10. Picture Lock
After the rough cut is approved, we create a fine cut. This version has to be finally approved after that, nothing regarding tempo and the overall editing is going to be changed (so called picture-lock).
11. Fine Tuning
When we know which shots to use and how long they are going to be, we can start the fine tuning. The 3D studio can start animating the scenes chosen in step 8 – not too long and not too short. We start working on graphics and give the film the desired look (grading).
When we are pleased with the result, you’ll get a last preview, now also with a final soundtrack. Two feedback rounds are included.