ATTENTE COUVERTURE

ATMOSPHÈRE

MGALLERY HOTEL FILM GUIDELINES - SEPTEMBER 2012 1

 SOMMAIRE
I. INTRODUCTION

II. THE SPIRIT OF THE

COLLECTION

III. SCREENPLAY

IV. FILMING AND EDITING

V. METHODS

APPENDIX – RIGHTS

MGALLERY HOTEL FILM GUIDELINES - SEPTEMBER 2012 2

 I

INTRODUCTION

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 INTRODUCTION

SHOWCASING THE HOTELS

These guidelines, which are simple to use and generic, set out all the
compulsory features of the hotel films to showcase the hotel's story and
individual attributes. Keeping to the guidelines will ensure that the MGallery
Hotel Film Collection is consistent.

HELPING TO BUILD THE COLLECTION

The films, which will be used as media to promote the hotels, will be shown
online (hotel site and Accorhotels.com).
Finally, this group of hotel films will be added to a MGallery brand page on
YouTube.

ENHANCING MGALLERY'S COMMUNICATION TERRITORY

The execution of the films must echo the brand film and showcase “the
Memorable stories” of the MGallery hotels.

TWO EXAMPLES
To give you practical support, these guidelines contain two pilot films as
examples, for the Muse and Vie hotels in Bangkok.

The MGallery communication team provides you with:

- 1 toolkit to harmonise the start and end of each film (packshots)
- 2 examples of films made for the Vie and Muse hotels (in Bangkok,
Thailand)

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 II

THE SPIRIT OF THE COLLECTION

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 THE SPIRIT OF THE COLLECTION

The only way to ensure the consistency of the hotel films is to keep to the spirit
of the Collection. This means visible coherence in terms of both narrative
structure and film’s production (from filming to editing).

SCREENPLAY: A COMMON NARRATIVE STRUCTURE

These guidelines provide a general framework structured around the concept of
a guided tour of each hotel. Compulsory features such as entering and leaving
the hotel and highlighting its story and its staff are a way of establishing a
common structure.
Testimonials and interviews are too institutional and cannot be used. Hotel
guests must also not be shown.

SPECIFIC FILMING AND EDITING TECHNIQUES

The guidelines set out a series of recommendations for filming and editing
techniques to give your film an identifiable style, shared by all the films in the
Collection.

METHODS
To give you practical support, these guidelines will help you to identify the 'plus
points' of your hotel, so that you can promote its story and special features more
effectively in your film. The example sheets for the Muse and Vie hotel films will
give you a clearer idea of the preparation that was needed to produce them.

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 III

STORYLINE
NARRATIVE STRUCTURE

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 CONCEPT: A GUIDED TOUR

Each film must be a guided tour: a story that begins at the doors of the hotel and
ends in the evening, as if you were taking a full day to discover your hotel in
every detail.

A JOURNEY THROUGH THE HOTEL

Through the film, the visitor will discover every area, from the lobby to the rooms
(ideally, three types of room), the lounge bar and the spa, to display the
elegance and character of your hotel.

TO SHOW ITS STORY

The film has to suggest the hotel's unique atmosphere, while illustrating its story
and its character. The guided tour therefore has to linger on the detail, the body
language of service and the features that set the hotel apart.

AND MEMORABLE MOMENT

The film gives visitors a chance to discover the hotel's "Memorable Moment",
but only if this relates to the hotel's story and if this is organized in or near the
hotel.

The guided tour incorporates a series of unavoidable features, which are

described in the following pages.

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 UNAVOIDABLE FEATURES
A. OPENING SEQUENCE – WELCOME
Each hotel experience begins with the appearance of the hotel’s name on the
façade and entry to the hotel. If possible, the film should show a hotel manager
welcoming us. Each film should start with this welcoming attitude.

WELCOMING BODY LANGUAGE

1.The hotel logo must be shown and enhanced with an aesthetically pleasing
shot.

2. A bellboy opening the hotel's entrance doors gives the body language of
service.

3. If it is there in situ, the MGallery plaque can be filmed in a subtle way to

connect the hotel to the Collection.

4. Entry to the hotel lobby is accompanied by a local gesture of welcome and a

smile.

1. Introducing the hotel logo 2. Entrance/façade

3. MGallery plaque
4. Welcoming body language

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 UNAVOIDABLE FEATURES
B. THE SPIRIT OF SERVICE
The film has to capture moments of the hotel's service, the day-to-day gestures,
movements and behaviour of its staff and times when they provide particular
services that make the hotel special.

Here are some examples:

1. Jasmine tea in the hotel Spa 2. Dressing plates

3. Delicate cooking gestures 4. Tea time in Baltimore

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 UNAVOIDABLE FEATURES
C. THE HOTEL'S STORY
Each hotel in the MGallery Collection has
its own story, and belongs in one of the
three categories: Heritage, Signature or
Serenity.

The film's images and music have to

reflect this story, and the atmospheres of
1. Wooden emblem showing the these categories. Alternating long shots
Muse logo and close ups of detail is recommended,
to show both the general ambiance of the
hotel and its finer points.

For example, the unique features of the

Muse Hotel and its Signature-category
feel are shown in the details of its story.

2. Old Victorian telephones

As well as the hotel's category, the film
has to reflect its story. In the Hotel Muse’s
case, the golden age of travel and the
colonial influence are evident in shots of
the decor, furnishings and other details
that tell the hotel’s story.

3. Antique maps on the walls of the

hotel

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 UNAVOIDABLE FEATURES
D. EXPERT STAFF
The films should, as much as possible,
pay tribute to the expert staff showcasing
the hotels.

Your film has to show the body language

associated with the profession and the
hotel's quality of service.
1. Head Chef, Hotel Muse

These sequences both present key staff

(in reception, catering and services) and
give the hotels a 'human face' by
introducing the people who work there.

2. Maître d’hôtel, Hotel Muse

3. Head Chef, Grand Hôtel Cabourg

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 UNAVOIDABLE FEATURES
E. HOTEL MARKERS
As well as in the opening and closing packshots, the hotel's name must appear
throughout the film, particularly at the start, on entry to the hotel, and at the "end
of the day » when checking out.
These insertions punctuate the film but have to be relatively discreet (e.g. the
hotel name might appear on signage, embroidered on beautiful Pool towels or
on coasters).

The MGallery logo can also appear, but in a more discreet way, as shown on the
opening sequence page.

Here are some examples of how the hotel and the MGallery logos might be
shown.

2.The MGallery ribbon discreetly

1. Hotel Muse logo
placed on the notebook

3. Hotel Muse reception sign 4. The MGallery logo on a room TV

screen

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 UNAVOIDABLE FEATURES
F. END OF THE FILM – LEAVING THE HOTEL
The film's final sequence has to gently lead the visitor towards the end of the film.

AT THE END OF THE DAY

A reverse tracking shot or long shot is recommended, to represent departure from
the hotel. These final shots must be filmed in the evening, to give the impression
that a day has passed.

LOGO IN SITU
The final shot must also include a final view of the hotel logo in situ, representing
the end of the guided tour and the check-out. The shot should show an iconic
view of the hotel in the background.

1. Final shot of the hotel logo 2. Reverse tracking on a hotel shot

3. Reverse tracking on a hotel shot 4. Reverse tracking on a hotel shot

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 IV

FILMING TECHNIQUES

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 FILMING TECHNIQUES
A. EQUIPMENT AND RECOMMENDATIONS
EQUIPMENT

The pilot hotel films were made using a Canon 5D Mark II for a more artistic
result, in 16/9 format and HD quality.

FILMING

Suggestions for the opening sequence

- The film starts with a subjective floating shot on steadycam (or semi-pro
stabiliser), moving forward from an external wide shot of the hotel to the entrance,
- The entrance doors can be opened by the baggage handlers / valets,
- Focus can graduate from soft to sharp when the hotel logo appears.

Other sequences
The film should alternate between:
- Wide shots of each key location and various types of rooms. These should all be
wide angle shots to increase the feeling of space,
- Narrower shots (using macro lenses) of key details of the surroundings and the
decor,
The alternating technique is essential, to show the hotel premises as well as the
spirit and individual identity of each hotel.

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 FILMING TECHNIQUES
B. DEEP FOCUS
The use of soft focus and deep focus gives a cinematic look and enhances the
high-end atmosphere of the MGallery Collection.

Soft/sharp focus effects should be used on details of objects and decor that
enhance the hotel's positioning.

PHOTO DETAIL
1. A bouquet of flowers in a room
2. A lantern and glass of wine on a hotel terrace

1. Room ambiance 2. Gestures of hotel guests

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 FILMING TECHNIQUES
C. CAMERA MOVEMENTS
Fixed shots must not be used. The camera therefore has to move slowly in each
shot. These movements should be emphasised:
- Walking steadycam to give the impression of movement,
- Tracking effect, often lateral,
- Horizontal/vertical panning effect,
- Soft/sharp focus effects as mentioned above, for static detail shots.

PHOTO DETAIL
1. Tracking through space
2. Focussing on a moving object to bring the hotel to life

1. Tracking from left to right 2. The fan creates movement in the

room

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 EDITING GUIDE
A. MUSIC AND TRANSITIONS

MUSIC
Choice
The music has to represent the hotel universe. Preferably, choose music that
lasts approximately as long as the film (about 1'30) so that it does not have to be
cut. Two different types of music could be used to add more rhythm.
The music is unique and chosen by the hotel. Please be careful to have the rights
to use it.

Edit to the music!

An obvious and very important recommendation.
Music determines the editing rhythm, slow or fast.
The Muse and Vie pilot films provide two examples.

SHOT TRANSITIONS
Mainly straight cuts…
The shots should mainly be straight cut in series without fading.
Since the shots are already tracking and in soft/sharp focus, over-use of cross-
fading could make the editing redundant and heavy.

Some cross-fading
Sometimes, however, cross-fading is justified and appropriate.
For example, it can be used in the transition between two separate universes
(e.g. from the rooms to the Spa).
You should use no more than three or four cross-fades per film.

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 EDITING GUIDE
B. OPENING PACKSHOT

INSERTION OF OPENING PACKSHOT (TOOLKIT PROVIDED)

You have been provided with the opening packshot. It has an initial duration of
11’’.
You can adjust the duration with a central cut if necessary, to adapt to the starting
musical rhythm, as at the start of the Muse film.
The packshot should be cut with no fade out.

INSERTING THE HOTEL SIGNATURE

Appearance of the logo, country and town names
-In a solid white on a black background,
-Fade into black on 12 images,
-With zoom.

Appearance of hotel positioning phrase

-White type,
-Fade into black on 12 images,
-With zoom out.

NB: We recommend using the positioning phrase in English only. If necessary,

you can add a local translation underneath in the same form as the English one.
The two signatures would then be separated by a central dash with spacing
before and after.
Typography: Futura BT, white, caps. Centred on one to three lines maximum (see
the example on the slide below).

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 EDITING GUIDE
B. OPENING PACKSHOT

1. MGallery logo 2. “Presents”

3. Hotel logo 4. Positioning sentence

4bis. Bilingual alternative in the country

language
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 EDITING GUIDE
C. CLOSING PACKSHOT

INSERTION OF CLOSING PACKSHOT (TOOLKIT PROVIDED)

You have been provided with the closing packshot.

It is the same for each film.
It lasts for 10’’.

The packshot should be inserted with a cross-fade on 16 entries and exit

thumbnails.

1. Final fade 2. URL of MGallery website

3. Brand signature 4. MGallery logo

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 V

WORKING METHODS

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 WORKING METHODS

"DIFFUSING THE UNIQUE ESSENCE OF YOUR HOTEL"

The MGallery communication team suggests that you closely work with them in
order to ensure consistency between the films of the Collection.

You will be asked to fill in a hotel sheet to help identify the qualities of the hotel
that should be emphasised (Hotel type sheet on page 28). This sheet must be
approved by the MGallery team.

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 HOTEL TYPE SHEET

COMMENTS ON THE HOTEL

Using the Muse and Vie hotel sheets as examples, suggest some defining
aspects of your hotel and its story.

INSERT YOUR POSITIONING PHRASE

TO BE FILMED:
1. HOTEL PLUS POINTS
• Key areas to be filmed if they exist: façade with sign/hotel’s name on exterior,
lobby, living room, three types of room maximum (classic, superior and suite),
swimming pool, fitness center, spa, restaurant and if it does not exist at least the
breakfast room, bar, terrace/gardens,
• Views of the town from the hotel.

2. STORY, SERVICES, BODY LANGUAGE

• Physical details of the hotel's story (hotel sign, architectural details, decor
and statues),
• Focus on hotel body language and attitude,
• Film the "Memorable Moment" if it relates to the story and if this is organized
in or near the hotel.

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 HOTEL SHEET – EXAMPLE 1 – THE
MUSE
THE GOLDEN AGE OF TRAVEL
Inspired by socio-artistic movements at the end of the 19th century in Europe and
by King Rama V of Thailand, the Hotel Muse in Bangkok has a cosmopolitan-chic
ambiance that evokes the elegance of a new golden age of Asian travel.

TO BE FILMED:
1. HOTEL PLUS POINTS (at your 2. STORY, SERVICES, BODY
discretion) LANGUAGE

• 1 façade with sign or hotel’s name on • 2 examples of hotel body language:

exterior (bellboy carrying luggage to the Muse,
• 1 lobby welcome at reception) be careful
• 1 living room (MGallery marker), must about expiry of picture rights
be filmed each time • 2 details of the hotel's story: Golden
• 3 types of room maximum (classic, Age of Travel (can be seen in the
superior and suite) decor)
• 1 restaurant (Medici) • 1 focus on the hotel logo in situ
• 1 bar (Speak Easy & Terrasse) (internal signage, umbrella, coaster,
• 1 Swimming Pool bill tray, stationery, towel)
• 1 Fitness centre • A "Memorable Moment" if it relates to
• 1 Spa the hotel's story and if this is
organized in or near the hotel

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 HOTEL SHEET – EXAMPLE 2 – THE VIE
THE DESIGNED LIFE
The frenetic metropolis of Bangkok: a mixture of labyrinthine roads and markets
and ultra-modern, gleaming shopping centres, pulsating with life day and night
but bordered by peaceful canals and the religious chanting of saffron-robed
monks. At the heart of this urban landscape, the Hotel Vie is the epitome of
contemporary pleasure.

TO BE FILMED:
1. HOTEL PLUS POINTS 2. STORY, BODY LANGUAGE OF
SERVICE
• Façade • Asian-style welcome
• Lobby • Body language of relaxation/sleep
• “VIE FIT” fitness centre
• Design of premises and
• “VIE SPA” Spa, sauna and furnishings
massage centre
• 'Zen' ambiance
• "VIE POOL" swimming pool and
jacuzzi on the roof • Exclusive advice from sleep
• "VIE BIZ" conference centre specialists
• Rooms: Deluxe & Suite • A "Memorable Moment"

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 APPENDIX

RIGHTS

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 NOTE ON RIGHTS
MUSIC
Make sure that you choose music that you have rights on.

PEOPLE
Similarly, you must sign picture rights for each person appearing into the film,
including employees.
Since the film is based on ambiance and the hotel universe, do not include any
tourist shots.

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 CONTACTS

ISABELLE RUGO
Director of Product and Operational Communication at MGallery
[email protected]

SABINE LABROSSE
Head of Media and Advertising Strategy for Mercure, MGallery and
Accorhotels.com
[email protected]

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