Thursday, June 5, 2008

Summer Movie Roundup

I've seen an unusually high number of movies so far this summer. Well, unusually high for a married guy with two kids, one of them a toddler. Somehow I've been able to make it to the theater this movie season, and I've got some opinions.

Iron Man: Loved it.
I knew absolutely nothing about the Iron Man character going in to this film, not really being a Comic Book Guy. But the previews were compelling, and Robert Downey Jr. is always fun to watch. Sure enough, his performance was one of the highlights of the film, portraying an accidental superhero convincingly.
I liked the film's solution to the universal "super powered suit power supply" problem. It was internally consistent. There was still the niggling issue of g-forces on your brain while flipping around in the suit, but hey, going to the movies is largely about suspension of disbelief.

And speaking of suspension of disbelief...

Speed Racer: Loved it.
Yeah, I hear you sighing is disbelief. How could I love this piece of empty claptrap, hated by almost every critic on the planet. Simple, really: When I was a kid I used to come home from school every day and watch the original Speed Racer cartoon. Every day. The Speed Racer movie was made for people like me, people with an intimate, encyclopedic knowledge of the TV show. Throughout the film, time and time again, I noticed countless subtle nods to the TV show, quick little shots, that I'm guessing the vast majority of viewers wouldn't even notice, and many of them made me laugh out loud.
That said, if you're someone who doesn't have a deep understanding of the subtle world of Speed Racer, then yes, I could understand how the film might come up short for you. But I have to ask the critics who were harsh, who criticized the film for a flimsy plot - Well what were you expecting? It's Speed Racer, for god's sake!
I also found the film to be quiet simply stunning, visually. Bold, unique and groundbreaking, very stylistic.

Indiana Jones and the Kingdom of the Crystal Skull: Loved it!
We're all big Indy fans here at the Bittner house, and there was a lot of anticipation leading up to this film, balanced with a certain amount of trepidation. Could Harrison Ford still pull of being Indy, with his advanced age?
To me, the great thing about this film was that it felt like an Indy movie, from start to finish. The pacing, the writing, the cinematography, the direction, the humor, all fit the Indy mold. They set out to make a solid Indy movie, not to break any new ground, and they did it. Yes, the thing with the aliens was a bit "out there" (ha!) but no more so than the Holy Grail, Lost Ark or Seeing Stones, if you think about it. And it fit in the tone of the era the film was set in, the 50's, with the space race and the rush to beat the Russians.

Am I going to easy on these films? Has a year and a half trapped inside my home with an infant made me soft, made me just so happy get out of the house that I'll love anything put in front of me? Perhaps. But I think not.

My wife is going to be dragging me to Sex and the City soon, so we'll see how that goes...

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, May 26, 2008

"He said it right."


Reader Adam made a great point in the comments to the last post -

I still have people who try to write scripts that have had one too many English classes and try to write for the human voice with proper English. The problem is that nobody speaks in complete sentences.
Adam is dead-on right here, and we've run into this situation countless times over the years. These days, when we ask for a script from a client we frame it by asking for a "script outline" and tell them that we'll likely be fine-tuning it for the spoken word, then coming back to them for approval. That way, whoever is doing the writing knows ahead of time that there will be changes, and they're not as likely to get their feathers ruffled. Although sometimes they still get their feathers ruffled. 

This clip from The West Wing sizes up the situation rather nicely - 





Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Friday, May 23, 2008

Why Most Execs Give Lousy Presentations

Andy Craig posts a really spot-on article at chiefexecutive.net on why so many corporate execs, otherwise excellent communicators, give such lousy presentations.

"You didn’t put in the hard work in advance of your presentation. As a result, you ask your audience to work hard to follow your Death by PowerPoint presentation and the blather loosely associated with it."
Check out the entire article here.

Rehearsal is critical for any live presentation. And not just an "Oh, I'll read through this presentation and go over what I'm going to say in my head..." kind of rehearsal. Get out the projector. Use the remote. Talk out loud. Run through the slides. You will quickly find the flat spots, the transitions that don't work, the phrases that are just plain hard to say. You'll go in more relaxed too, knowing you've actually ironed out the rough spots and you won't have to deal with them on the fly.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Thursday, May 22, 2008

Inactivity

Yes, I suppose some explanation is order for the lack of updates lately.

Truth be told, it's been a combination of having an extraordinarily busy time at work and not having very many truly compelling things to share. I don't want this to be a link aggregation blog, and I don't want to post just for the sake of posting.

I'm contemplating posting about things that aren't strictly industry related, but have some connection, however small. You won't see posts on what my kids had for breakfast, for example, but if I had a really good time watching the Iron Man movie (I did) and there's something worth sharing about the effects or story telling, well that seems to remotely on-topic.

I'm a big fan of Mark Evanier's blog, News from ME. Mark strikes a good balance covering things that interest him, professionally and personally.

Opinions? Anything in particular you'd like to see covered? Please let me know.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, May 12, 2008

Some Nice AE Tutorials


David Torno posts some really nice AE tutorials over at AE I Owe You, his blog.

Check it out.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Wednesday, May 7, 2008

ProMax Shutting Down

Word came over various mailing lists and forums today that Promax, longtime VAR to the video industry and sponsor of the NAB Digital Media Cafe, is shutting down. Lots of people are justifiably lamenting this, and wondering what it represents to the industry as a whole.

Personally, we hadn't order anything from Promax in close to a decade, after some bad experiences with them selling us removable media (Jazz cartridges, when they were all the rage) that were clearly used, some even containing other people's data. The first time it happened I wrote it off as a simple mix up. But it happened again, and Promax never was able to provide a decent explanation, or, for that matter, an apology. So, needless to say, we stopped ordering from them.

Our situation must have been the exception, however, because Promax had a reputation for integrity, something that isn't always easy to find in the cut-throat world of hardware sales. Charles was a good guy, always friendly and gracious when I'd see him at industry events.

The industry has changed a lot since Promax opened in 1994. Building hard drive arrays is no longer the black art it once was back in the SCSI days, and technical information and support is readily available online, making it much easier for people to build their own systems without having to rely on VARs. Margins are razor thin, competition fierce. Our faltering economy only makes matters worse.

Interesting times...

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, May 5, 2008

Multiple Monitors


In the last post on using a customized keyboard, we got a great comment on the use of multiple monitors. We've been using dual monitors on all of our production machines at Pixel Workshop for as long as I can remember, certainly going back to the 8100av Mac days, as I recall.

It's a simple, inexpensive way to markedly increase your productivity. There's the obvious benefit of increased screen real estate, but I also find I like the organizational aspects of having a primary and secondary monitor. Being able to place apps, windows or palettes that I'm not using "out of the way" (but still available at a glance) is a really nice organizational tool for me. Apples recently added Spaces feature is an attempt at this via a single monitor, and it is indeed useful, but I still wouldn't give up multiple monitors.

I know plenty of editors, people I respect, who insist that a single large monitor is the way to go. Certainly, there's something to be said for having a Final Cut Pro or After Effects timeline stretch across a 30" monitor, but I still prefer the organizational aspects of two screens. Even if I had a 30", I'd have a smaller, secondary monitor, too. (Our main edit system has two Dell 24" monitors.)

It should be noted that there is a potential performance hit when running two monitors from a single graphics card, since the VRAM is split evenly between the two screens. Apps like Motion and Color (and, to a lesser extent, Final Cut) use the graphics card to do a lot of the heavy lifting, and you're essentially halving the amount of memory available for the graphics card to use on any given window. (Installing a second card would solve this issue, but alas, slots are still somewhat dear in the typical Mac Pro being used for video and motion graphics.)

I have an iBook G4 I use for email and web surfing (soon to be retired and replaced with a Macbook Pro, I'm hoping...) and I recently added an external 22" monitor to use when I'm at my office desk. Wow. What a difference! My productivity has noticeably improved.

Oh, one more thing, a bit of a blast from the past. I remember years ago, probably when we were using 9500s as our main workstation machines, setting up a machine with three monitors, one in the middle and one on each side, because there was a F-15 flight simulator that would give you front and side views when using multiple monitors. It was a gather-up-the-geeks cool moment in our studio.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Wednesday, April 30, 2008

The Transformative Powers of a Keyboard

Back in the days of linear A/B roll editing, CMX was a popular brand of edit controller, and the space bar on the CMX keyboard was labeled "ALL STOP." If you were in the midst of prerolling and edit and realized you have made a grace error, you could hit the space bar and the CMX would bring all of your machines out of edit mode. A nice feature.

It didn't take long for some enterprising entrepreneur out there to come up with a third part replacement for the spacebar key, labeled "Oh Shit!" instead of "ALL STOP." They sold a lot of them, and I probably saw them on about half of the CMX editors I'd ever encountered.

So what does this have to do with modern nonlinear editing and keyboards? These days, chances are you're using a Mac or PC as the core of your editing system, and you're probably using the keyboard that came with the system. Do yourself a favor and buy a custom keyboard, matching whatever editing software you use, be it Final Cut, Avid or Premier. Why?



A custom keyboard does a couple of things for you. First of all, it makes it easier to see what the keyboard shortcuts are, and I find it reminds of possible shortcuts I never really knew were there, simply because I'd fallen into a set of habits when I was editing. Second, and perhaps more importantly, from your client's point of view it transforms your generic computer system, "That Mac you use to edit video...", into a custom video editing workstation. It's amazing to me how having a colorful custom keyboard in the edit suite changes the perception of the system you're using in the client's eyes. 

After shopping around at NAB a few years ago we settled on the Logic Keyboard for our Final Cut systems.

Do you have a favorite keyboard brand? Share with us all in the comments!

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, April 14, 2008

No NAB for Me This Year


Jonas over at General Specialist has a nice list of resources available for NAB news.

As for me, I decided to skip this year's show. Last year, while strolling from my hotel to the convention center with my pal Rob Birnholz, we agreed that with the availability of information online, going to NAB every year wasn't as critical as it used to be. Sure, it's nice to be able to see the gear in person, to heft that new camera on your shoulder or strap on the latest steadicam, but is it worth several days time and around a thousand bucks to do so? Not to me, not any more. (And hey, I'm in good company, with both Avid and Apple skipping the show floor this year.)

I miss seeing the friends I only get to see at NAB, pals from the IMUG list and the Steadicam Forum. There's a big social factor to NAB, connecting with those people in person. I don't really see a whole lot of business generated from the connections I make at NAB, so it's hard to justify it from that end, either.

If you've never been, and you're a person occasionally smitten with techno-lust, by all means, go. It's worth seeing, just to see so much technology in one place. Exciting and overwhelming.

But for me, it's become an every-other-year event. 

(Rob, on the other hand, changed his mind at the last minute and went to Vegas. Rob, that's the last time I go Segway riding in Vegas with you. Do you hear me?)


Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Sony EX3


In a perfect example of why you never make a camera purchase in the weeks leading up to NAB, Sony has announced the EX3 camera, with many improvements over the EX1.

There's a great overview of the new camera here.

The EX3 is scheduled for "third quarter" release with a price around $13K. So now my dilemma is whether to buy an EX1 now, or to try to make it a few more months with our SDX-900 DV50 camera and wait for the EX3.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Saturday, April 12, 2008

Don't Be Afraid of the Big Cheese


Last week we were shooting at a Really Big Company, grabbing little "get to know you" video snippets for a presentation they were preparing for a government project. It was a fun day, with some really smart folks who, fortunately, didn't take themselves too seriously.

One of the people we shot was the CEO of the company. The big cheese. Head honcho. Big Kahuna. I've noticed that quite often in big companies, the CEO has a collection of "handlers" around him or her, and these handlers are often very nervous about the fact that the CEO is going to be taking part in the video shoot. Sometimes it seems like they are afraid that we're going to take too much time, sometimes I think they're just afraid that we're accidentally going to leave the "make everyone look like a drooling moron" filter on the lens. (These filters are very hard to come by. Only a handful were made, back in the silent era. I stumbled across mine in a government surplus auction, although clearly the government is still in possession of several of them.)

These handlers usually have either a very nervous or confrontational quality about them, as they attempt to insulate the CEO from the situation. It has been my experience that the best way to deal with high level CEOs, military general, world leaders, etc., is to treat them with confident respect, but not to be subordinate to them. You are there to make them look good, and part of putting them at ease is to have an aura of confidence about you, to make them feel like they're in good hands and you know what you're doing.

Part of this, of course, is preparing an environment that supports this illusion. Leave yourself plenty of time for setup. Request a room that's large enough for the task. Request that only key company personnel be permitted in the room during the shoot. (People like to hang out, but everybody likes to direct, and you quickly end up with too many cooks in the room.) When the big cheese arrives, you are ready to roll, lights ups, mics ready, everything tested and ready for action.

Many CEOs are very comfortable on camera and get through their presentation quickly with a minimum of fuss. I usually present the first take as a rehearsal (but roll tape during it anyway), second take as a a real take, and get a third as a safety. If the boss (or the handlers) fight you on doing a safety take, calmly explain to them that you are protecting them from added time, expense and hassle caused by some unforeseen or unnoticed mistake. You're looking out for them, and it's time well spent. It will only take a couple of minutes.

Some CEOs require a bit more, shall we say, nurturing, and this is where it's really critical for you to be in calm control of the situation, and for you to not be a wuss when it comes to telling them they've got a better take in them. The handlers, when seeing the CEO struggling, will instinctively want to get them out of there, ASAP, and will likely start blowing false praise. Don't fall in to this trap. The CEO is looking to you to make them look good. Don't let them down. If they do a bad take, be diplomatic, but direct. Humor can be a good tool, if you're the kind of person who can pull it off with charm.

It's your job to put everyone at ease. Be confident and in control. Know your stuff, and plan ahead. Be diplomatic, but firm in your desire to make everyone look their best. That's what they hired you for.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Thursday, April 10, 2008

Putting Your Eggs In One Basket

Remember how I was recently pontificating about the need to not have too much of your revenue tied up in one client? Well there's a dust-up going on right now, involving a company who was doing a large percentage of their work with Walmart. Check out the story here.

Lots of ethical dilemmas here. Technically, the production company owns the footage they shot for Walmart, and can do whatever they want with it, including selling it to the highest bidder. But I can't imagine anyone ever hiring them again, not without a specific ownership clause in their contract. But who know...maybe the owners of the production company are looking for multimillion dollar buyout from Walmart, and then planning on shutting down and heading to an island somewhere and living the good life.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, April 7, 2008

Finding Your Zone

Dan Benjamin from the Hivelogic blog writes a really insightful article on the need for a proper workspace for creative people. He makes some really good points.

Most people who create things will enter a state of mind where the activity of producing something, the act of creating, become effortless (or at least easier). Writers often describe the sensation of their hands flying across the keyboard, words coming out without pause or difficulty, the message clarifying before them on the page (or screen). Artists often describe a similar sensation, as if their brush was being guided by their subconscious mind. And although many people think of software development as a kind of science, there is a great deal of creativity involved in writing code, and it works the very same way.
The rest of the article is here.

I have a friend who's a big fan of coworking, and Dan's post outlines many of the reasons I resist it. For the type of work I do, creative work that often involves deep, thoughtful problem solving, the idea of going to a Starbucks, a loud environment with lousy lighting, uncomfortable chairs, small tables...well it's just not that attractive to me. Not to mention the fact that reducing my workspace from two 24" monitors down to my laptop screen puts a huge damper on my productivity. It's nice to get out and meet people, to bounce ideas off of them, and I can see the value in that, but I have people here in the office I can hit up for suggestions, as well as a really strong online community, too. (I also happen to have no taste for coffee. Every few years I try it, tempted my the smell, and am reminded why I continue to prefer my caffeine delivered cold.)

Maybe I'd feel differently if I worked out of my home. Maybe I'd feel differently if I didn't attend nearly every freakin' charity event in town, along with weekly Rotary meetings, networking events, user group meetings, PTA events, happy hours, etc. No, in my local community I have no feelings of being disconnected.

Which is nice.

Now excuse me while I return to my tastefully lit, acoustically treated, air conditioned, technically provisioned edit suite.


Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Blog 'til You Drop

Remember how just a few days ago I concerned about the long hours my pals are putting in, and how it strikes me as being unsustainable? Turns out, according to the New York Times, it's affecting the blogging world, too.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Saturday, April 5, 2008

Student Film Cliches

For the past several years I've volunteered to serve as a judge for a local student film festival. The films have gotten better every year, and it amazed me how much sophistication we're seeing from these high-school aged kids.

Of course, there are the cliche's...

This film was produced as a parody of the many common student film cliches. How many can you spot, and what other one's can you think of? (For example, there's no one walking through a graveyard in this one, which is something I've seen in a lot of student films...)



Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Wednesday, April 2, 2008

Dogs and Ponies Not Needed

So a long time friend and colleague of mine calls me and invites me to an Important Meeting with a potential new client. Very exciting stuff, could be a nice, steady stream of work for us, a good long-term relationship. "Bring some stuff to show."

Well, no problem, I'll just burn off the most recent copy of the old Pixel Demo Reel! Looking it up on the server, let's see, the most recent one is dated...1996?!? 

Holy crap. Yep, looks like the reel hasn't been meaningfully updated in, oh, about two years. How is this possible? Thinking about it, I realized that I haven't been asked for a reel in a long time. The vast majority of our work is referrals, and for whatever reason we are rarely asked to just send out a demo reel any more. I suppose that's a good thing, that we've reached the point where our reputation and the recommendations we get are good. That, and people check us out via the web.

So, anyway, I gathered up a bunch of stuff to show, projects old and new, many different styles, to cover all of the "Why yes, we've done something just like that, and I happen to have a copy of that job right here..." bases.

And I was never asked to show anything. Not a frame of video, interactive, multimedia, nothing. Of course, had I not gather up all that stuff I surely would have been asked to show all kinds of samples. That's just the way it works.

The meeting went very well, and it looks like there's potential for a lot of fun, collaborative work. 

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Tuesday, April 1, 2008

Working Yourself to Death

Sorry things have been quiet here for a few days. We've had a handful big projects approaching delivery, and things have been hectic. 

Which reminds me...

A good friend of mine, also in the motion media biz, was lamenting recently how he'd been spending every waking hour for the past few weeks working on a project, and that he was getting very little time with his family and was exhausted, too. 

Which got me thinking. Occasional all-nighters seem to come with the territory in this business, typically when you've got a deadline approaching and that render just keeps on crashing, or some other unforeseen issue crops up. That's normal, and the kind of thing that happens from time to time in most lines of work. Most professionals have to put in extra hours from time to time. 

But I have several good friends who have, over the years, allowed this to become a regular thing, just a normal part of how they do business. They are individuals, with no on-site staff, one-man motion graphics and editing shops. And they work crazy hours, regularly, to make deadlines. Why? There a number of ways to look at this.

First of all, maybe they're just really bad at estimating how long it should take to get a job done. We're all guilty of this from time to time, but if you've been in the business more than a few years you should have a fairly good idea of how long a project takes. (And you should have systems in place to charge for overages when things take longer and it's the client's fault.)

I'm pretty sure that's not the case, here. No, in this case I think it's a case of undervaluing themselves, combined with professional pride. They bill out a job based on what they think it "should" take, if a mere mortal were doing it, to be competitive for the client. But they know deep down inside that they are not mere mortals, and that they will tweak and fuss until the job is perfect, until it is satisfying to them. So they know they will spend many more hours than they bill, and are basically giving those hours away, because, well, most artists wouldn't take that extra time, so it's not really billable, right?

You see the flaw in this logic. Taking the extra time is exactly the thing they should be billing for, it's the very thing that sets them apart from the crowd. Sure, some clients won't get it, but many will. And the ones who do are the one's you want, because they appreciate the difference and are willing to pay for the best. You need to educate them. How?

Here's a handy technique. Let's say you put in a bunch of extra hours in the project. Track them, put them on the invoice, and then discount them out. When you deliver to the client, you say, "I wanted you to be aware of the extra time this project required, to get it to the level of perfection I know you and your company appreciate. I'm not billing you for it this time, because we agreed on a price, but we should both be aware of this when we plan for your next project." 

So you're setting expectations. You're the hero for going the extra mile but staying on budget, and they know that if they want this level of quality on an ongoing basis it's going to require some extra budgeting on their part. And, framed this way, chances are they will. Some won't, and will try to get you to give it away every time, and that's where you need to be firm.

"I understand you're on a tight budget, so let's work together to see where we can't make some cuts in the scope of this, so we can both have realistic expectations." 

As for my pals who put in the crazy hours, well, honestly, I worry about them. I care about them, truly, and the last thing I want is to come to work one day and get word that one of them was found slumped over his keyboard after pulling a series of all nighters.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Friday, March 28, 2008

Simply Red

I ran into a good friend of mine at a local cafe the other day, and he was telling me about a panel discussion he was involved with on digital cinema. Several cameras were on display, including HD cams from Sony and Hitachi, but the star of the show, the real reason everyone attended, was to see the Red One from Red Digital Cinema. Of course, the Red One has been the talk of the industry for a few years now, and is either the most amazing piece of disruptive technology in the history of cinema, or the biggest pile of vaporware to come down the pike, depending on who you ask. 

When the Red was first announced I was as skeptical as the next guy, having been in the biz for a few years and having been through product announcements like the Play Trinity system, among others, products that were the hype of NAB for a few years running, then, if they managed to ship at all, usually

 shipped with greatly reduced feature sets, greatly inflated prices, or a little of both. So, while the Red One sounded cool, I thought it best to take a wait and see attitude. 

Sure enough, at NAB last year Red had a pretty amazing little short feature, directed by Peter Jackson (yes, THE Peter Jackson), using two of the beta Red cameras. I saw it in the Red theater on the show floor, and it was very impressive. It seemed like the Red One was for real, and people were signing up in droves to get on the waiting list to purchase one. The Red booth was more crowded than church on Easter Sunday, and yet there were still plenty of naysayers, people who didn't believe they could possibly ship a camera system with that kind of image quality for that kind of money.

I came home from NAB, and one of the DPs I work with sat down with me and peppered me with question about the Red One. We knew an HD camera was in our future, and the Red was certainly no more expensive than any of the other high-end or even mid-range HD cams, so it was worth considering. And consider we did, but ultimately I decided that the Red just isn't for us, not now.

The way I see it, the Red One is a digital cinema camera, not an HD video camera. What's the distinction? Simply put, the Red is designed to take the place of a movie camera, a 35mm or 16mm camera, not a video camera rig. The Red One is best used with prime lenses, instead of the servo driven zooms video camera operators are used to. For digital cinema that's great, but for a shop like ours that shoots a wide variety of shows, the limitations of the Red make it impractical for us. You couldn't use the Red to go shoot someone giving a speech at a conference, for example, one of those oh-so-boring-but-it-pays-the-bills assignments that most shooters get from time to time. (I suppose, technically, you could use the Red for that, but you get my point. It's not an ideal tool for that kind of situation.) 

No, for us, we need something more versatile, and also something more mature than the Red currently is. As gorgeous as the Red One is, she's still a finicky girl, with software update coming fast and furious. Again, fine if you're doing dramatic work, and can risk the need for reshoots, but not so good for covering live events, or productions with tight budgets,

This is not the say the Red isn't impressive for what it's accomplished. It really is amazing, and I have to wonder how many sleepless nights it's caused for the execs at Sony and Panasonic. It is truly a disruptive technology, and I think having it in the mix is a good thing for everyone. 

But for us, for now, if we need the super high resolution images of the Red One, we'll hire an owner/ operator who's intimately familiar with the quirks of the system, and rely on a more traditional HD camera system for our day to day work.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Wednesday, March 26, 2008

Steadicam Inventor Garrett Brown



Growing up, I developed a fascination with the Steadicam, after seeing inventor Garrett Brown chasing model Cheryl Tiegs around the set of the Saturday morning TV show "Kids Are People Too!

I've never lost my love for the steadicam, and my admiration for the gentleman we have to thank for having the perserverance to invent it. I was lucky enough to have been taught how to operate steadicam by him, and even had the privilege of visiting his shop, where he showed me the original steadicam prototype. Here's a nice interview with Garrett Brown.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, March 24, 2008

Who Wouldn't You Work With?

Back before we started Pixel Workshop (and before she was my wife), Ilana worked as an assistant editor for several different post production houses in Washington DC. One of them had an ongoing professional relationship with one of the largest tobacco companies in the world, doing training and P.R. video for them. They were a huge and important client for the post house, responsible for a large percentage of their annual revenue. (And remember what we said about having too many eggs in one basket!)

The funny thing about the relationship was that this client specified that they be allowed to smoke in the edit suites. (This was in the early 90s, before there were so many workplace smoking restrictions.) And they let it be known in no uncertain terms that if they weren't allowed to smoke in the edit suites, they would take their business elsewhere. So the post house went along with it. Again, times were different , even fifteen years ago, but still - quite a bargain to make. The deal drove the engineers nuts, because they were constantly having to tear down the equipment in the "smoking" suite to remove the layers of gunk left by the smoke. Other clients refused to use the room because it reeked of stale smoke.

Worth it? Well, for the post house, clearly it was. They went on like this for years, hiring editors who smoked, so they wouldn't mind the situation.

I can tell you that we never would have taken them on as a client, and certainly would never have allowed smoking anywhere inside the facility. Still, in our company history, we've done a handful of jobs for clients we didn't exactly agree with. We've done political ads (always get paid in advance with politicals...always...), we did an ad for an international "Day of Peace" which, unbeknownst to us, was actually a mass wedding ceremony for the Moonies. Oops.

And one time I did an online finishing job for a gent who, when booking the edit suite, said to me, "You don't have a problem with nudity, do you?" (For the record, that's like asking Popeye if he has a problem with spinach...) Turns out his indie film was a low-budget lesbian vampire slasher flick. And I had no problem with that.

But seriously, it's a good mental exercise. Who, if they knocked on your door, clutching fistfuls of money, would you refuse to work for? Politicals that were against your sensibilities? Porn? Religious content? Is it even our job to pass judgment on the products our clients are producing, as long as they're legal?

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Friday, March 21, 2008

Bested, Once Again...

Have a great weekend, everybody!



Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Thursday, March 20, 2008

Diversity of Clients

I came across and interesting article today from the Financial Post, about an internet marketing company who was relying on a loophole in Google's adwords policies as their primary source of revenue. They were a hundred million dollar company, until Google closed the loophole. Game over. Just like that.

It got me thinking about a situation we faced a number of years ago. I had met a producer for a huge government contracting agency, one of the many "Beltway Bandits" that do business in the Washington DC area. I had been brought on to do steadicam for a small job he was doing, and we hit it off. I sent him a production reel from Pixel Workshop, we had lunch, and agreed to keep in touch.

Not long after that he called and asked me to attend a meeting he was having with one of his clients, a government agency who needed a promotional video. This video was a tiny component of a multi-million dollar contract, but as part of the contract it needed to be done, and my new contact was looking for us to handle the job. I attended the meeting, where a lot of interesting, creative ideas were exchanged, and I left feeling like I had a clear picture of what they needed. My contact asked us to put together a proposal, and assured me that this project was ours, that he was going to take care of making sure we would get the job.

Needless to say, this was good news. It was a substantial project, in the low six figures, and put us in good financial shape for the rest of the year. We started planning for the job, making sure that we had the resources lined up, and that we didn't have too many other "little" jobs in the pipeline that would distract us from this whale of a project.

It was all good, right up to the point where we didn't actually win the contract. Despite the assurances from my guy, someone came in with a bid that was substantially lower than ours, and the government agency went with it. It hit us hard, and made for a lean year, in part because we had eased up on gathering other projects, in anticipation of this big one landing.

The lesson here is to be very careful about relying on one or two big clients for the majority of your income. You may have someone there who loves your work, but what happens when she moves on, gets fired, or when a new CEO takes over and decides to take the company in a new direction? I've seen it happen many times over the years, and as a result we make a conscious effort to not let any one client become a critical source of income.

This is not to say you turn down their business, of course, but it means that as busy as you get with them, be sure you carve out time in your schedule to continue marketing to and serving your other clients. Actually carve out the time on your schedule, block it out, and use it. When you plan out your scheduling for a new, big job, don't let it consume your entire schedule. Plan out your core "business" activities, like marketing, schedule them, and plug in that new project around them.

I know, I know, easier said than done. But it's an important concept to keep in mind, and can help smooth out the financial roller coaster that can be running a small business.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Wednesday, March 19, 2008

Quick Update

Busy at work today, trying to get on top of several projects that have piled up, plus I'm fighting a nasty chest cold. So nothing much to see here today. I do want to thank everyone who sent notes about Roy's insurance article. It was very popular (major spikeage on the analytics meters) and Roy promises to do a followup soon. 

Stay tuned...

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Tuesday, March 18, 2008

Which Brain Do You Choose to Use?

I'm going to ask you to carve out eighteen minutes of your life and watch this TED presentation by Dr. Jill Bolte Taylor -


I'm a big fan of the TED conference presentations, and love that they're online for the world to enjoy. The TED web site is fun to explore, and I always come away feeling like it was time well spent.

Now, speaking to Dr. Jill's presentation, what an amazing story! Notice the deliberate story arc, the limited use of slides, the use of compelling visual aids. A real human brain is tough to beat for an attention getter! Plus, once you get past the "Ewww..." factor, it's a great way to demystify the human brain. Here it is. This isn't a model, it's a real brain. There's no denying her passion for the content, and her connection to the audience. You could hear a pin drop in that room. Powerful stuff.

And beyond the actual mechanics of the presentation, there's the message itself, one that I think is important for visual storytellers. Dr. Jill spoke of choosing which side of the brain to use. For visual storytellers, we need to think about which side of the viewer's brain we're appealing to. Are we presenting details and facts, or an emotional appeal? Which has more meaning? Which is more daring? Which is more appropriate? Which will be remembered?

What do you think?

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, March 17, 2008

Avid Makes Adjustments


There's been much speculation buzzing around ever since Avid bowed out of NAB this year (followed not far behind by Apple) about what they're planning on doing to get more competitive. Today Avid released a press release outlining their plan, a "New Thinking" initiative.

It's been a while since I've spent any meaningful time editing on an Avid, but plenty of editors I know and respect think they're the bees knees. My pal Bob Russo from Avid was kind enough to give me and extended demo of an Avid system at NAB last year, and sure enough there are some very impressive features. (ScriptSync is pretty magical.) Not enough to make me consider a switch from Final Cut Studio, but enough to understand the appeal and recommend that anyone starting out take a serious look at what Avid has to offer. It's not as compelling as it used to be, but there's still some panache in calling yourself an Avid Editor.

Frank Capria has some interesting, informed commentary over at the ProVideo Coalition.
He makes the interesting point that part of the success of FCP has been the ease with which you can pirate it. Students edit using stolen software, and when they graduate to professional work they recommend the package they're familiar with. Right or wrong, it's reality, and something to consider.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Thursday, March 13, 2008

The Insurance You Should Have Bought Yesterday


My good friend Roy Filipe from McCabe Insurance graciously agreed to write up a short introduction to business insurance, aimed at those of us in the production world. There's a ton of great information here, written in Roy's inimitable style.- Dave

You pull into the parking lot and the building you work in is a smoking hole in the ground. As the firefighters roll up the hoses and the Action News 11 Kewpie Doll (Live, Local and Latebreaking BTW) does a sound check, you stand there with your mouth open and your head spinning. What insurance should you have bought yesterday?

Assuming you don’t own the building, which would take a few pages all by itself, what insurance did you need? Business Personal Property coverage, also known as contents, to the full replacement cost value of everything you own. This isn’t like car insurance. There is no depreciation. It is also cheap. Buy enough. Increase it every year.

Also included in contents is buildout. If you added cabinets, special flooring, artwork, workstations, counters, they belong to you. The landlord owns the building. You own your improvements so you have to insure them. Your landlord may love you and want to replace your stuff, but his insurance company isn’t so enamored and they won’t pay you a dime.

In this case, you also need Business Income protection. If your business gets interrupted, you can insure the income that you lost. There are an awful lot of specifics about this, but make it point to see what your limits are. Some policies do not have a limit, but you do have to produce proof of what you lost, like bank statements and financial reports. Some events have a 72 hour waiting period. There’s more. I told you this was complicated.

Active risk management for your business is more than just buying insurance. It requires you to identify, assess, control, finance and monitor risk. Risk is anything that can damage your business. Let’s take a look at some other common, and not so common, scenarios.

You are on a shoot. You are distracted by the pizza delivery guy. (For whatever reason. Myself, I never found them too interesting.) Anyway, you get back to work and your Eyesight 20/20 camera is missing. Someone stole it. What insurance should you have bought yesterday?

If you have equipment that leaves your office, you need a “floater”. This is coverage for cameras, scaffolding, sound equipment, laptops and so on. Once it is 100 feet outside your door, it needs to be covered on a floater. It is expensive and there will be a deductible, but it really isn’t a question of "if" with stolen tools and equipment. It is when. And the when is usually just before deadline.

This coverage varies from company to company, but it should be scheduled (listed by name, serial number and value). Take pictures of it. Keep invoices. Do not keep them on your laptop. They took that too.

You are growing. You have just leased a Transmogrifyer 1000B. (The 1000A is outdated. It is for losers.) Displaying the physical skills that earned you All Intramural honors in high school, you drop it down the stairs. Where it lands on your receptionist. What insurance should you have bought yesterday?

OK, the Trans (as those in the know call it), should be protected under your contents coverage. Do not buy the lease company insurance if you don’t have to. It is expensive.

If you lease or rent mobile equipment such as cameras, the rental company will require proof of insurance. Your agent probably produces a couple of dozen of these certificates every day. Give them the details and they should be able to have it for you in a day if not immediately.

If you do buy the rental company’s insurance, check to see if theft is included. No one is going to set fire to the camera. It will not be struck by lightning. It will not be carried away by harpies. (Unless you are doing work in Emerald City and have pissed off the Wicked Witch of the West.) It will get stolen. Make sure you are covered.

This type of coverage isn’t particularly cheap if you buy it yourself and is probably going to be even more expensive from the rental company. If you are doing this sort of thing more than once, check out your own insurance. Watch the deductible. If you rent a $2,500 piece of equipment with a $1,000 deductible you are essentially self-insured because the insurance company isn’t going to pay the “brand new” cost. It’ll be depreciated like a 20 year old Yugo. This is different than the aforementioned contents coverage, which, if you are retaining any of this information; you remember is “brand new out of the box” replacement cost..

As for the unfortunate employee buried in the rubble, you need Workers Compensation. If you have only ONE employee and she works only ONE hour a week, you need workers comp. It is unlawful, irresponsible, and just stupid not to have it. It protects your business as much as it protects your employees. In this line of work it is also cheap, unless you paint bridges and you are reading this by mistake.

Bonus Tax and Legal Implication Discussion: You can call the people who work for you independent subcontractors all you want. But, if they work only for you, if they do not have their own insurance, if you supervise their work directly, if they do something that is the specific nature of your business and not some unusual specialty, THEY ARE EMPLOYEES.

The IRS, your state Workers Comp Commission, and your insurance company have no sense of humor about this issue. Remember this: When one of these entities starts asking you questions, you are already screwed because the difference between an employee and sub is real clear to them and they wouldn’t be asking questions if they didn’t already know the answer. Don’t mess with this. Ask your accountant or lawyer. If you get a “don’t worry about it” answer, find a new one.

You are reading a trade publication. The idea that you have been working on for three years is featured as the brainchild of the slug that you fired the day before Christmas.
What insurance should you have bought yesterday?

There is no insurance that I know of that’ll protect your loss of potential income, your sanity, or your canteen tab at the prison you’ll be in after you are convicted of murder. But there is Copyright Infringement and Defense Insurance. It gives you money to fight the legal battle. It may not be enough, but you at least you won’t be out the legal fees. By the way, a basic general liability policy specifically excludes this. If you call them looking for coverage, the only thing they’ll do is tell you “No”.

This leads to Professional Liability or Errors and Omissions (E&O). Think of it as malpractice insurance. This can be for pain, suffering and humiliation for shooting a wedding and forgetting to roll tape. Or a company hires you to produce a product launch and you screw it up so bad it drives them out of business.

These are very specialized policies and quite expensive. Thousands, not hundreds of dollars like the other stuff we have talked about. Which, when it comes to insurance, means you need it. Insurance that is expensive means that it happens a lot and the insurance company has to pay out frequently. It’s not that they don’t want to, but they are in it for the money. You want free, ask for volunteers.

You are in your office busily disabling the filter that keeps you from looking at certain websites. (Stop it!)Your intercom buzzes, "Mike Wallace and a cameraman are here to see you." You don't remember booking a shoot for his biography. He has his own photographer too? This can't be good. What insurance should you have bought yesterday?

Actually, there isn't an insurance solution for this pickle. This is the difference between insurance and risk management. Risk management practice will suggest that lacking a back door to your office, you should have a designated spokesperson. It should not be the CEO. Why? If the CEO blurts something out, you can't correct, retract, backtrack, dissemble or spin. If a spokesperson says something that causes even more damage, then someone else can cover your very exposed butt.

I am not promoting obfuscation or its more common cousin, outright lying. What I am suggesting is that you think through situations that may arise and have a plan before it happens. Everything from fire drills and bad weather to kidnap/ransom if you work around the world.

Tripwires to be ready for: firing anybody (Even the sweet, even-tempered receptionist that “caught” your Trans 1000B. Her husband might be a survivalist with impulse control issues.), writing a passionate letter to the editor about your belief that parrots should be able to hold public office, anything involving alcohol after midnight in a small town, volunteering to help a friend with his blog....

Here's a risk management scenario that does not involve Wiley Coyote and Acme Products. A simple car accident. Do you have your current insurance information in the car? 24 hour phone number? Your lawyer's number? (See above: alcohol and after midnight.) Do you have contact and medical information in your wallet? (If you are unconscious, that's where the EMT will look.) Have the first number in your cellphone contacts listed as ICE (in case of emergency) and program in someone's number. (At best, you should know them.) Make sure you tell them that you did this.

If you are not injured badly and are talking to the other person involved, DO NOT discuss who is at fault. DO NOT make promises for a third party. This is always good advice, but especially important here: You are a policyholder. You are not an insurance company representative. Don't even suggest what they will pay for or not. Not your call.

People who seem fine at the accident will sit home and watch commercials for personal injury lawyers all day. Call the police for an accident report and get witness contact information.

If you drive your personal auto for business, make sure you have non-owned and hired coverage on your business policy. This will protect your business when your personal liability limits run out.

If you are like most people, you have $300,000 in liability coverage. If you hit a surgeon's Maybach and he hurts his wrist, a $300,000 limit is going to leave everything else you own at risk. (Yes I know he has his own disability insurance. After they pay him, they'll come looking for you to pay them back. It's called subrogation. Happens every day and insurance companies are very, very good at it.)
Transfer this type of thinking and level of preparedness back to your business.


One last OMG: In this society, a small incident can become a major catastrophe in a hurry. That cup of McDonald’s coffee the woman spilled in her lap was a small event (I know, not to her.) From that little accident we get multiple millions paid out in lawsuits and a warning printed on coffee cups that coffee is hot....only in America. This is known as a Loss Cascade. Cascades are pretty in nature. Insurance, not so much.

With that in mind, if you have enough money for a computer and the internet service to read this, you have enough money for an umbrella policy. Your business should have at least $2 million in total protection. You should have at least $1.5 million for yourself. They are separate. You can’t use one to cover the other. (Oh, he doesn’t know what he’s talking about. My neighbor told me you can. Fine, call him when the insurance company is laughing so hard they can’t get the “NO!” out.) Nobody sues anybody for $10,000. They start at $1 million and go UP. Buy an umbrella policy.

Most everyone's insurance concern is about "who's gonna pay for my stuff?" That isn't really anywhere near the real risk you face everyday. Your real risk is liability or "who's gonna pay for the other guys stuff and/or pain?" I'll use a couple of personal examples to illustrate. (Relax, they didn't really happen.)

A tree falls on my house. I had let the insurance lapse. I have to pay to get it fixed. It was bad. Let's say $100,000. I have to take out a loan or cash in some investments. Painful, but I still have a place to live. That same day I am mowing the lawn and the mower throws a rock and hits my annoying neighbor in the head. Unfortunately, he is not killed; but permanently disabled. He and his wife will now sue me for all sorts of damages. He is 25 and makes over $100,000 a year (He hardly works in his father's company. One of the many reasons I don't like him.) Over the next 40 years, he stood to make at least $4,000,000. Now, if I had liability insurance and an umbrella, my insurance company would give them a check for $2,000,000 and hopefully they would be able to live off that. Without insurance though, they are selling my house and garnishing my wages. I will be living in a Sears Kenmore refrigerator box under the bridge. Down by the river, next to Chris Farley's van. (SNL reference, sorry.)

See the difference? You can replace stuff. Liability is the real boogeyman. Unless you are a trust fund baby, millions of dollars are hard to come by. Without liability insurance, you will never recover.

Risk management preparedness doesn't apply to just bad things, but they are more fun to write about. Good things that will require risk management communication and PR readiness: moving, product roll out, expanding, name change, etc. You have dreamed of what will improve. Time to think of what could go wrong.

Insurance is for “catastrophic financial loss.” It is not for small things that happen all the time. If you lose something, kick yourself and go buy a new one. Save your insurance for when you lose everything.

Insurance people are nice folks but insurance companies are in business. To make money. They are your partners and will do everything they can to help you. Paying claims is part of their business model. They expect it. But if you become a burden with multiple small claims, they know a big one is coming and you may be costing them more than you are worth. It is known as “severity follows frequency.” It isn’t a theory. It is an actuarial fact. Lots of little claims will become one huge calamity.

This was all good fun, but it does bring up some serious stuff that may cause you to lose sleep. When discussing the limits of umbrella coverage with clients, I refer to it as "sleep at night" protection. All of the above should be "sleep at night" considerations. Identify risks to your business, assess and analyze, and then plan for ways to minimize those risks. If nothing else, be on the lookout for coyotes behind rocks and avoid flying anvils. And the harpies. Always beware of the harpies.


Roy Felipe
CIC, Certified Insurance Counselor
BS Edu, SUNY Cortland
ADD, Attention Deficit Disorder
CRS, Can't Remember S#@%

I am now into my second decade as a commercial insurance agent. Previous to being a risk management maven, I was a YMCA Director (Yes, I know the song. You can stop now.), a resort Activities Director (think Dirty Dancing) and an Environmental Education Instructor. (My then girlfriend would introduce me by saying "This is my boyfriend Roy. He takes little kids into the woods...") I played rugby until it took longer than the off season to heal enough to play again. I have a retired racing greyhound who terrorizes the neighbor's cats for sport. Playing golf, on a good day and with creative scoring, I can shoot in the mid-90's. I have a long suffering wife of 30 years and two adult children who thankfully take after their mother....looks, smarts and work ethic. They are concerned about dementia as I age because, as they put it, "How will we know?" When I am not drinking beer with friends, I am wishing that I was.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Wednesday, March 12, 2008

Who Wants a Movie?

Oh boy...time to spruce up the demo reel. The competition out there is getting fierce...



Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Tuesday, March 11, 2008

Knowing What You Don't Know


I had a silly little experience at Pixel the other day. A young programmer we've got doing some Flash stuff for us did some audio editing of a high quality MP3 I had sent him, a simple single-channel, mono voice over track. And it came back sounding like crap. Plus, the bitrate was higher than it was when I sent it to him. So, more bandwidth, lower quality. I think not.

It was the result of a cascade of little mistakes he'd made when recompressing the files, little compression tricks he didn't know about. Tricks that I do know about. I redid the compression myself, and ended up with a file that was one quarter the size of his, yet indistinguishable from the original.

The situation made me realize that sometimes I don't give myself enough credit, and I forget that, yes, I've been working with digital media since, well, digital media was invented, and I've picked up a thing or two along the way. Knowing the proper data rates for various flavors of digital audio just happens to be one of many little recipes filed away in my brain. These things usually sit in there like the Ark at the end of Raiders - it's in there, but good luck finding it. But every now and then I think to myself, "Hey! I know how to do that, and that's a pretty cool thing. Most people don't know how to do that."

Sometimes it's important to sit back, take a moment, and be thankful for the things you do know, and humble about the things you don't.


Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, March 10, 2008

Monday Video Diversion

Busy Monday for me, back to work after attending a Rotary leadership conference. I'm going to be president of my local Rotary club starting this July, and before they hand you the keys to the forbidden ark and teach you the secret handshake they gather up all of the presidents-to-be for a weekend of intense training. I learned a lot about Rotary, and what's expected of me as president, but the best part of the weekend was meeting dozens of other like-minded people, discussing the challenges we were facing in our upcoming presidential year and comparing the various aspects of our clubs. Personal, one-on-one and small-group conversations.

At any rate, I'm back, and will resume more substantive posting tomorrow. In the mean time, enjoy this very funny Lego Star Wars video.




Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Thursday, March 6, 2008

Cool Tools a Decade Later

I recently stumbled across this article from Digital Content Producer

It's a listing of some of the exciting tools video folks are using - in 1998!

Oh, let's see...Photoshop - check! After Effects - check!

Oh, the Digital ICE cards. These were cards you could plug in your Mac that would accelerate certain rendering functions, particularly blurs and glows. They were expensive, and we never had them, but I knew plenty of people who did. Many got their money's worth, but Moore's Law meant the computers were getting faster and faster, and these didn't stay around very long.

Speaking of computers, the article mentions the speedy PowerMac G3, the computer they were hoping would save Apple. Yes, there was much hand-wringing over Apple's fate back in those pre-iPod days. Back then, the PowerPC chips were touted as being destined to far outstrip the Intel chips, which were going to burst into flames at any moment due to the heat they generated. That never quite happened, and of course Macs now run quite happily with Intel CPUs.

Times change, and it seems the rate of change keeps increasing as well. I wonder where we'll be ten years from now?

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Tuesday, March 4, 2008

Be So Good They Can't Ignore You



Recommended reading - Born Standing Up - A Comic's Life 

I recently finished this Steve Martin autobiography, and I highly recommend it, especially for those of us in the creative fields. The book focuses on Martin's rise to fame as a standup comedian in the 70s, how he built his act and why he ultimately chose to walk away from it. Even if you're not a huge Steve Martin fan you'll find there's plenty of insight into the creative process, the development of craft, and the choices one makes throughout life. It's a good, quick read, worth your time.

An interesting point Martin makes is to "be so good they can't ignore you." In other words, if you're the best at what you do people will seek you out, which is much easier on you than having to go door to door selling your wares. Most of us land somewhere in the middle, of course, but it's an interesting philosophical point. Do you want to be known as "the best in town," or "the cheapest in town," or perhaps "the best value in town?" Each option has ups and downs, for immediate and long term growth. When you're starting out it's easiest to be cheap, especially when you don't have much to show. But having a reputation as "the cheap shop" is very tough to shake off in the long run. Food for thought.

Also worth checking out is this interview from The Charlie Rose show. Jerry Seinfeld is first, followed by Martin. 





Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Monday, March 3, 2008

Star Wars meets Saul Bass

I was recently chatting with a childhood chum of mine about Star Wars, and we agreed that one of the things that makes the film timeless is the orchestral score, composed and conducted by the brilliant John Williams. Just for a moment, imagine Star Wars with a cheesy 70s synth soundtrack - it could have just as easily gone that way, especially with the budget pressure George Lucas was under from the studio.

This, however is just plain brilliant -



If you're unfamiliar with the work of Saul Bass, he's got a wiki here. And if you're looking for some of these groovy fonts, they can be found here.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Preparing for the Interview

Let's start off today with a brief video clip -


Ahem. Yes.

This little gem illustrates a couple of points. First, the young lady doing the interview is clueless. She also seems to be someone who seems to be quite comfortable in her cluelessness. She seems to wear it as a badge of honor, or, at the very least,  is used to getting through life in spite of it. 

Second, John Cusack is a true professional, suffering through what is clearly an excruciatingly dull press junket. In a way, this was probably one of the more amusing moments of his day, and he's smart enough that he probably enjoyed toying with her. 

The main point, though, is how important it is to prepare for your interviews. Do your homework, do your research, invest time in preparing. I doesn't matter if you're interviewing the biggest star in Hollywood or your grandmother, the more you know going in, the better results you'll get. One of the most critical elements for the success of any interview is establishing rapport with your interview subject. Putting them at ease makes it much more likely they'll open up, relax, and share their story with you in an engaging, personal way.
I was once shooting for a producer who interviewed people like they were on a witness stand. He'd bark out the same preprepared questions, not looking at them, not listening to a word they said, not asking a single followup question. It made for a horrible experience for the people being interviewed - they couldn't wait to get the hell out of there. It was aggravating for me, because I kept thinking about all of the great material he would have been able to get if he would just listen to the people he was interviewing.

Interviewing is a skill, and the more you do it the better you'll get. My wife and business partner, Ilana, is a master at the sit-down interview, after almost fifteen years experience. She's able to sense when people are nervous, put them at ease, and get the answers she needs for the story she want to tell. Many times she'll ask a half dozen or more questions to start that have nothing to do with the subject at hand, just to be able to build rapport, put the subject at ease, and get them to relax. Sometimes she senses the person being interviewed is completely comfortable from the get-go, she gets what she needs and sends them on their way, not wasting anyone's time. She's a pro, and she makes it look easy. 

Who can you look to for inspiration? Some of my favorite interviewers are Charlie Rose, James Lipton and Terri Gross. (And for a fascinating example of a good interviewer faced with a bad interviewee, check out this example of Terry Gross interviewing Gene Simmons from Kiss.)

Who do you like? Who's interview technique inspires you?

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites

Friday, February 29, 2008

My Very First Camera

Going through some old tapes in our warehouse recently, I came across a bunch of old Hi8 tapes. Remember Hi8? I sure do. In fact, it's the format that started my career. Sit back, my friends, and I'll tell you the tale. Yessir, right about near the end of the last century, oh, about nineteen hundred ninety, as I recall...

I was in the midst of my college career at the University of Maryland (go Terps!), and had recently switched from being a vocal music major (I'm not kidding about having a lovely singing voice, you know...) to RTVF, Radio Television and Film. I'm working at the RTVF Tech Center, the campus TV studio, having a blast, learning all I can about the TV engineering world. It's a fairly well-equipped facility for the time, with 1" machines, betacam decks, a Chyron Scribe, an ADO 1000, and a brand new Grass Valley 200 switcher. Two studios, one for the students to beat up on (equipped with Norelco PC-70 cameras!) and one for the "real" production work, primarily the athletic department's coaches shows.

I was getting some freelance jobs, tucking away some money, and I knew I wanted to buy a video camera for myself. But what to buy? (Cue the choir music, the footage of the clouds parting and beams of light shining through...)

Sony had just introduced a new tape format, Hi8, and the flagship model of the Hi8 line was the CCD-V5000. Full sized, shoulder mounted, VU meters on the side...hoo boy, this baby fed my naive techno-lust by the shovel full. I saved up my money, got on the waiting list (they were in very short supply at first) and eventually got the camera.

Dave was a very happy boy. Ignorance was bliss. I didn't know what a nightmare Hi8 would end up being in terms of dropouts (Fuji eventually came up with a tape formulation that worked, but it took a couple of years), didn't know that the initial run of these cameras had backfocus problems, didn't know how limiting it would be that the camera was single-chip.

Nope, all that stuff came later. This thing was the bees knees, it looked so dang professional, and as long as there was plenty of light it really did make some fine looking pictures.

A few years later Sony came out with the UVW betacam decks, which allowed us to enter the "big leagues", format wise, and later miniDV was introduced. We used to jokingly call miniDV "Hi8 that works," since they filled the same general niche in the production world. These days it's DV50 and HD, with no-excuses gear that makes drop-dead gorgeous pictures, runs without a hitch and never complains.

But that first camera, well, I suppose it was partly the fact that it was mine, my first investment in trying to make a real go at this professional video thing. That camera was pretty special to me.

Support PixelCadabra Via Our Amazon Main Page


Add to Technorati Favorites