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!

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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?)


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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.

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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.

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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.

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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.


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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.

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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...)



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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. 

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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.

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