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.

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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.

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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?

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Friday, March 21, 2008

Bested, Once Again...

Have a great weekend, everybody!



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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.

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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...

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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?

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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.

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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.

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Wednesday, March 12, 2008

Who Wants a Movie?

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



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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.


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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.




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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?

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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. 





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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.

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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?

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