Where’ve you been?

Not that I ever kept up with this blog but not posting since June is downright negligent. So where was I. I was learning how to soldier. In June I signed a contract with the US Army reserves where I do…video production. I know it’s a stretch. This required me to go to basic training for 10 weeks followed by 13 weeks of learning how to produce videos.

Looking Cool


I’m the one on the left.

But now I’m back and I’ve got a bunch of projects on the horizon and I’ll hopefully be sharing them with you shortly. In the meantime I’m thinking about moving over to Tumblr.


Me and the Sony F3

As a producer I have had the chance to work with a lot of different cameras thanks in part to Visual Edge Productions and my blind love for gear. It all began with the 24p Cool-aid and the SDX900. This camera had the frame-rate image quality and image processing that gave you a clean look where BetaSP always fell short.

Over the time my taste became more refined. I moved into HD. Starting with the VariCam then the HDX900 I learned to spot the little finer details during the production process but I also learned how to budget meaning, I figured out how dumb it is to rent a deck after every shoot just to ingest entire tapes. So tapeless we went and the HPX2000 was our ticket to deck rental freedom, sorry VisualEdge.

Everything was all peaches at this point. Panasonic has a superior codec in comparison to Sony’s hard assed commitment to long GOP garbage, so I became a Pani loyalist. But as everyone knows now something happened, and it began with shallow DoF.

Hot damn a company came out with an affordable single chip camera, the Red One. Not only was/is it über resolution but also light sensitivity. It was a lot easier to get that film look and people could actually afford this acquisition tool, if you could find one.

Then something even stranger happened, the HDSLR. The HDSLR renaissance brought shallow depth of field to the masses. Suddenly any wedding videographer could be Tak Fujimoto (at least in their heads) and I was right there with them (Steven f’n Spielberg). The Canon 5D has produced some great stuff for me but it definitely had its limitations.

What I feel like it really did was make the big two, Sony and Panasonic say, “WTF, It turns out people want affordable cameras they can make pretty pictures with.” In response Panasonic rushed out the mediocre AF-100 and Sony cranked out the F3.

Which brings me to the present. I have never been a fan of Sony and their dedication to 4:2:0 compression, which screams consumer solution to a professional problem (don’t get me started on HDMI), however their cameras have always produced a very flexible look by giving us a clean, sharp, high-contrast images and the F3 does that and then some.

I think I have found my new favorite camera. Hackers be damned.


Quick Pics from the Archive

The title says it all. These are a few pictures I have taken with my new favorite toy, the Nikon D7000.

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D7000 First Impressions

The other day I had the chance to go out and shoot some pickup shots with the Nikon D7000, so I thought I would share. Now I know the camera has been well reviewed and covered and beaten to death, I know that the lens I was shooting with was just the kit 18-105mm f3.5.-5.6 and I know that I only know about 50% of what the camera can do, so this is officially a no judgement zone.

So now that I have fully established the basemodelness of my camera, take a look at this 1080, 24p gloriousness.

My first impression, sharp, sharp as hell. It is the Sony look vs. the Panasonic. From an operators perspective, this is a run-and-gun HDSLR. The auto focus during recording is 90% accurate and the VBR in the lens works ok for rig-less handheld. Another thing I noticed was latitude and flatness. the video comes out of the camera with a lot of contrast, giving it a very flat look and the dark to light is well beyond 110 and 0 IRE. So I pushed and pulled and crushed and seemed to find detail in every nook and cranny. (In the video I include pre- and post-grade looks). The color was also very neutral but natural, giving a colorist a lot of room to grade, as he/she sees fit.

Second impression. Why can’t I adjust aperture in LiveView, why? I either can not find the menu option or Nikon needs to update the firmware. I have yet to determine if this is a case of OE or a case of WTF. Nikon also needs to make a FCP plugin like Canon did for the log and transfer tool, as converting everything to ProRes is a stupid endeavor (all of which will be fixed in FCPX right APPLE?!)

Either way this camera should take some awesome home video and once I get a nice lens or two I will be sure to post again…and by the by it takes better photos than the Canons.


New PSAs

Final, final, final approval has been given on the PSAs I finished with the help of my good friend Rob Ruscher, Bryan Tosh and my beautiful wife.

And of course, I release this with complete disregard for my ego.

Directing, editing and finishing was performed by yours truly. Final Cut 7 was my weapon of choice with Motion for the graphics and, for all the haters, color grading was done in Color.

If you want to hear about gear used on the shoot, Rob has the details on his site.

Enjoy.

Next Up: my Friday with television celebrities mixed in with politics and lots of pictures.


The 5 Steps of Video Editing

While anyone who knows me, knows I prefer to take advantage (hire) other creative professionals who are much more specialized in their craft than I (like an editor, graphic artists, etc.), however this is not always feasible. With that said, I am currently working on a project where I am in the position of judge, jury and executioner or rather writer, director, and editor. And it is after a long hiatus from editing that I bring to you the 5 Stages of Editing:

Stage 1: Excitement
This stage follows production. You have just finished shooting or received the footage and are ready to edit. This is much like being a college senior again; the world is your oyster. The project holds unlimited potential and you cannot wait to see how it turns out. This stage is short-lived. When you begin to see what your fearless director has delivered you enter into…

Stage 2: Despair and Anger
Near the end of stage 1 (usually during the log and transfer process) you now know what you have in your sweaty little hands. A pile of marginally useable footage, with no audio (damn you DSLR shooter) and a director who has clearly never edited anything in his life or he would know about continuity, the 180-degree rule, eye line etc. At this point you will either, “A” quite and find the nearest bar or “B” press on with the rough cut and then find the nearest bar.

Stage 3: Acceptance
Once you have sacrificed blood to the film gods and cried over your fate (ie. rough cut) the program begins to resemble something actually watchable. “Avatar” it ain’t, but it’s not Cannibal School Girls from Outer space either.

Stage 4: Raging Fury
Okay maybe not raging fury but closer to seething animosity. This is the review process; better know as the “director swinging his thing stage.” While you have pushed and bent and taped a mess of video together, the director decides he has recovered from the shoot and is ready to roll in and change everything. He will ask for a shot he didn’t get, or tell you the actors inflection isn’t working and you (the editor) damn well know it’s the only shot he got that will cut. Or he complains about the continuity (refer to stage 2) and acts as if it’s the first time he is seeing the thing. At this point all you can imagine is your Magic Mouse bouncing off his/her head…

Stage 5: Giddiness
Giddiness and relief because you have polished and toiled and somehow turned a pile of footage into a project you can be proud of, which then leads to the unofficial 6th step: Amnesia because no matter how much pain a project causes, our jobs are too much fun to hate.

Look for a post on or around April, 29th to see the new commercials that this post inspired.


Gone and Done it

I am officially a DP. Okay not really, but by today’s loose standards I am one. I have officially purchased a DSLR that shoots 1080p video. Which one you might ask. No, I did not break the bank on a high-end 1D and no I did not buy the over hyped T3i. Instead I got the D3100, and in a word, awesome.

My Wife does not share my shutter enthusiasm.

Do not worry, I will not be posting endless “test” videos all over Vimeo, and I will not be inundating Twitter with shots of my kid (Just Facebook) and I won’t be trying to replace my stable of talented professionals by being the cheapest nerd on the block. Disclaimer: I am not a DP, I am a producer and there are a lot more talented DPs out there that do a much better job than I can.

The Prince is also indifferent.

What I will be is the Dad with the awesomest home videos that all other Dads will strive to be like (or at least in my head I will be). Especially when I get my new constant f 2.8 17-55 with a fader ND.


Working with the A Squad

In our industry if you do not like the people you are working with, it will be seen in the product you produce. That being said, I was very excited to work with my friends on the A-squad for my most recent MetaMedia Training video shoot.

The A-Squad: T. Michael, Donnie and Bruce

Challenge 1
It is a mine safety training video; therefore we had to shoot in a mine. After a lot of back and forth I finally secured a location and called Chris at Visual Edge Productions to have my crew rounded up (I call them my crew but I let people like Steven Colbert occasionally borrow them). As far as gear is concerned I asked for the Sony F3 (I like new toys) but got the AF-100 instead (the F3 has not shipped yet).

To spec, the AF-100 is a great entry-level camera that produces some very nice blacks. A mine is no hand in front of face dark so I figured it would get the job done. On a side note I hate (I mean hate) retrofitted consumer formats (talking to you AVC-HD) so I had Bruce mount the NanoFlash to the rig so we could get a decent data rate for color timing and keying. With fog and haze machines in route we were ready to shoot the movie.

Challenge 2
We traveled up to the Ruff Creek, Mining Technology and Training Center in Prosperity, Pennsylvania. There a crew of extremely hospitable hosts took great care to make sure we had everything we needed. They got us a crew of eight miners no questions asked and we took off into the dank dark caves. The group of talent was awesome. Not only did they take great direction but they were very patient with the old “great take, let’s do one more”, line which inevitably translates into ten takes. We shot them walking, talking and even pretending to ride on a cart in front of a green screen and they followed orders like they were shooting a movie. Bruce and Donnie did a great job lighting the scenes, so much so that the real miners said it looked real. On training jobs if you fool the pros, it is a success.

Riding the Cart to Freedom


Which Way Boss?

Conclusion
It is definitely rare to have a shoot go so well. At no point did I have to punt or use a contingency plan. Everyone was on point. I know that the success of this shoot can only be attributed to my reliance and faith in my friends at Visual Edge, my great associate producer and the hospitable hosts at Ruff Creek. Next up I sit in Dennis’s office while he cuts the thing and listens to my annoying ideas on how to make it cooler.


The Bug

When the nymph was born it seemed like the world was his fruit basket. He emerged from a cliff as the sun warmed the mountains. It was Spring and it was beautiful.

The Nymph spread his wings and flew to the nearest field where he landed and ate and ate and ate. He spent the spring and summer growing and eating the various fruits that grew in the field.

One morning when he awoke a giant, with a broad straw hat and almond eyes, reached toward him a picked the fruit he was resting on. The nymph, who had now grown into an adult beetle, could not get away and was thrown into a large basket. Inside he could hear the whispers of other bugs and wondered where this basket was going.

Suddenly the basket lurched and bounced toward a large black cave. Inside, the fruit and the beetle, were dumped on a large conveyor. As other giants turned and inspected the various fruits, the beetle had to jump and dodge their busy hands. He did not fly away because he was afraid they would seem him and that would be that. He did take some solace in the fact that if he was squished, a funky odor would follow. An odor so foul that it turned the noses on even the biggest mammals.

As the beetle rode the conveyor and dodged the hands he saw where he was headed. It was another big box. Before he could be caught, he flew inside. No sooner was he inside when the lid closed and the box was jostled and shaken for what felt like an eternity until it did not shake anymore. Everything was still but not silent. The little bug could hear the sound of water and gulls. He was in the ocean. Another eternity past and the bug fell asleep.

He woke up when a man, in a blue uniform wearing a badge, opened the box. The bug could not read very well but it looked like the badge said “Customs”. The beetle did not like the look of that badge so he spread his wings and flew away as fast as he could. It was not until he saw a field of green stalks and yellow fruit that he finally landed. Famished from all the flying he dug into the fruit.

While he ate another beetle like himself showed up behind him, a female, and when you think you are the last bug on earth we all know what happened next.

After his cigarette and a drink, the bug decided it was time to hibernate so he flew to a strange-looking cliff. The cliff was square, with ribbed white sides and a triangle on top. The beetle shrugged and found a crevasse to squeeze into.

Once inside he saw three giants sitting and eating. The youngest looked up and screamed. The biggest of the three grabbed a strange white object that looked like a very small flag. The giant wrapped the white thing around the beetle and the last thing he felt were the walls closing in around him as his guts shot through his mouth.

The last thing he heard was, “Gotcha!” and “oh, my god it stinks”, and as we know, the joke is on us.


A Cow Named Jude

On a sunny day in early May, a cow named Jude stood nibbling grass. Jude was a simple cow with a simple life. In the spring and summer she watched the bees buzz, and the butterflies fly. In winter she shivered against the wind’s crisp bite. In autumn she adored the way the trees turned to earth toned, abstract paintings. Jude loved the seasons because they brought change and new things for her to think about. Her only wish was to share these thoughts with someone else.

Jude longed for companionship. The Men would feed her every morning but they did not speak Cow so they offered no comfort. Every few weeks truckloads of cows arrived at her pasture and each time Jude hoped to find a friend among them. But the cows were always grumpy and only wanted to ask her “Why Are we here?” and “Where is the food?” Jude had the answers to these questions (the Men had taught her how to answer them) and was always eager to reply in hope that they would like her, but they never did.

One morning she was awaken before dawn by a new herd of cranky, chattering cattle. The lights were still on so Jude knew it was quite early in the morning. As she shook the sleep from her head, a friendly bovine trotted up and introduced herself as Tilda. After a friendly exchange Tilda began asking the usual questions but in a very friendly way. Jude explained to her how everything would work and that they should trust her and follow her once the Men arrived. Tilda thanked Jude and the two struck up a conversation about growing up. Jude was excited to have finally made a friend.

While they talked, the Men arrived. It was time for Jude to get to work. Jude nodded at Tilda and began telling everyone to follow her if they were hungry. She led them through a twisting, turning chute that opened into a large room with drains in the floors and mechanical belts going every direction. Jude walked out a back exit, leaving Tilda and the herd behind.

Jude walked to a secondary pasture where she was given fresh water and feed. As she chewed her meal she realized she forgot to say goodbye to Tilda. She noticed the Men had gone off to work so she snuck away and peered in the barn window.

At first Jude did not recognize the scene inside. Tilda was being shoved into a metal box that clamped around her head. “It seems awfully uncomfortable to eat like that,” Jude thought before she heard someone approach. She turned to greet the sound. It was a Man with a Boy trailing behind him. The man wore a white apron with red stains and a word across the front. The Boy looked up at the Man and asked why this cow had not gone into the building with the others. The Man turned to the Boy and told him that her name was Jude and she was the Judas Cow. Jude then realized the name on his apron was “Butcher.”


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