Archive for the ‘Uncategorized’ Category

What I Learned at Summer Camp. Again.

Wednesday, April 13th, 2011 by Joey

 

This past Friday I went back to school, sans Rodney Dangerfield.  My alma mater has a day where alum come and talk to current students and hold panels, portfolio reviews, a couple of chances to eat together and discuss careers.

I realized Saturday it’s kind of like a compressed summer camp for me as an alum too, without poison ivy and getting yelled at for being on the lake in paddleboats at 3 a.m.

 

It’s always a fun time, and feels like I compress three days of a conference into day sessions and a night out. None of  takeaway was re-inventing the wheel, but I can always use a tune-up, including:

-       a lot of creative people really just like helping other creative people

-       everybody is striving for a higher level of skill, and keeping their eyes on “getting better”

-       a couple different business models work

-       hard work is the most active ingredient in any project or attempt to get better

-       failure is the greatest teacher, and failing to fail is worse than being successful at being really mediocre

I look forward to going back next year, maybe with less rain.

 

Generalist? Specialist? OR “Preditor 2: Stick Around”

Wednesday, March 16th, 2011 by Joey

I had lunch with a college roommate (now “Dr.” Pete) on Saturday, somebody I don’t see enough of despite living a couple hours away.  My senior year, Dr. Pete was nice enough to put me in touch with his sister, a TV producer in New York.  I really wanted to make TV and movies, and like many almost-grads, had very little by way of a plan.
Maybe small market TV, maybe apply for a bunch of jobs and move some where exotic (“New York! Los Angeles! Washington… D.C.!”) but do something that would pay me to learn more and get better at making things.  And I wanted to do EVERYTHING (except a lot of audio post, you people are nuts) because I really liked everything.  Write, shoot, edit, direct, produce and all the trimmings in between.  Because that seemed like the most interesting thing, the most fun, and the thing I liked the most.

Dr. Pete’s sister was very nice on the phone.  She was a producer on a show you’ve heard of out of New York, and had practical matter-of-fact advice which boiled down to: you will only do one thing, pick it.  You could only edit, or shoot, or write, or produce, or direct, or be in lighting, or be in VFX, or makeup, or accounting.  “That’s how it works.”

There’re a few moments I can point to in my working life as defining moments, and that was one of them.  That moment of “Yeah… I’d really like to do everything.  I might not be good at everything, but I want to try a little bit of everything first.”

I went on to put together whatever the “this” is that I do day-to-day, month-to-month, over the last decade. At times I think I should be more of a specialist and focused on one thing, that comes and goes.  I always think I’d get awfully bored and much less engaged. And there’re plenty of successful examples of generalists and specialists in the world, I tend to like to do a variety. I like the multiple skillset and our model of project managers who can plug in to different projects in different capacities and exercise a couple muscles. And I should spend some more time focusing (never “just” doing something, all aspects of production are and should be collaborative) on editing, or writing, or shooting, or bookkeeping , etc.

At lunch Saturday Dr. Pete said his sister had been laid off from that same job, seven months ago.  She’s currently applying for producer jobs on a different coast, and is applying for high-profile shows that you’ll hear about in a few months.  And she should get one of those shows, because she’s really good at the thing she does.

Comcast Xfinity “You Click, We Deliver”

Tuesday, March 8th, 2011 by Joey

We designed and animated a new :30 commercial for Comcast Xfinity’s Request for Information (RFI) feature.  RFI lets advertisers overlay a interactive image over their commercials for viewers to access more information. Clicking allows consumers to find out more about product and services, and advertisers to generate leads and have additional accountability in campaigns.

We provided creative from the client VO, style frames, design, animation, and a custom score produced in-house.

Here’re the style frames:

And the finished spot:

Advertising and Marketing Workshop SVTC Luncheon in Winchester VA

Tuesday, February 1st, 2011 by Joey

Part of the fun of belonging to organizations like chambers of commerce, professional and trade groupa is going out and talking to people about their business without much of an agenda other than “Hey, I don’t know how to do that thing you do, tell me more” and learning who all is in your community.  Sometimes we get to be on the other end of the conversation and tell people what we know about producing content for marketing, advertising, and communication.
If you’re near Winchester Virginia Thursday February 10th around lunch time, Doug and I will talking and answering questions during “Advertising and Marketing: Getting the Most Out of Your Video Online, Over the Air, and In Your Pocket.” That’s a longer way of saying “Make good content and show it everywhere you need to.”

We’ll start with some general thoughts and then open up the floor to questions.  Most of the times I’ve talked to small groups there’re often more questions than time, so we’ll be mindful of trying to get everything in.

This event is part of the Shenandoah Valley Technology Council’s (SVTC) luncheon series, a series of conversations that take place up and down the Valley covering a range of topics.  We’ll be at Union Jack Pub, you order lunch as you arrive, I’m goofily stoked to try the fish and chips. There’s some networking/milling about. And you don’t have to be a member to come to the workshop! Lunch is Dutch treat, so whatever you want to eat.

So:

What: SVTC Winchester Luncheon: Advertising and Marketing: Getting the Most Out of Your Video Online, Over the Air, and In Your Pocket.

When: February 10th, 2011 11:30-1:00 p.m.

Where: The Union Jack Pub, Winchester VA.

And the direct link on the SVTC site.

Roger Deakins – online

Tuesday, January 11th, 2011 by Joey

Roger Deakins has an online forum.  Where he responds to things you ask him.  About whatever.

Someone asks about one of the final sequences (spoilers in the actual post) in ‘True Grit’, “I couldn’t tell if it was green screened or if you had actually put a camera on a horse… but there was something definitely a little weird about it.
The same with the profile of the horse head shots. It looked almost animatronic and was lit very oddly…
It’s a sequence i can’t get out of my head it bothered me so much. Could you explain what was going on with that sequence and clear my mind of these silly questions?”

Mr. Deakins gives a thorough response ““Not silly questions at all. That was a very difficult sequence, much of which had to be done on stage for purely practical reasons rather than aesthetic ones.
A variety of techniques were used.”
and then goes into breakdown of the shots including VFX, lights, gear, and lenses.

Or something on the lighting diagrams (which Mr. Deakins has already posted) for ‘No Country For Old Men’:

“Hi Roger,

May I ask you some questions about the street scene labeled Las Vegas from your diagrams? How did you use the source 4′s on the street lamps and how did it look like on camera. Was it pools of light? Also on the other diagram you have the platform with a lamp attached to it, above a street light. Was it to simulate the street lamp or to make it more punchy? Does the gel combination Half CTO/Straw give the street light effect with daylight or tungsten? Sorry for so many questions, but I find shooting under street lighting is so awkward normally and any guidance would be appreciated!!

Tony”

Mr. Deakins responds “Yes, shooting under street lights is difficult, especially if you are doing a long sequence with many angles as we were in Las Vegas, New Mexico (we could have gone with natural light in L.V., Nevada).
The source 4s were used two to each pole. With wide or medium lenses they were mounted each side of the existing street light with the lens in line with the top of the diffuser. No doors were used and gels were clipped to a gel holder. Being open like that the gels would hold if the lamps were saved between takes. The effect was to give a soft pool of light which extended the light from the existing fixture and we usually has the source 4s back to a dimmer and lowered the intensity so as not to overpower the existing light. The CTO and Straw gel matched the sodium colour quite closely. The camera wouldn’t see the lamp on the far side and the near lamp would become look as if it were part of the existing fixture. We did the same trick on the Border Crossing with 1.2 HMI Pars and we also did the same trick on ‘The Man Who Wasn’t There’.”

There’s more to both those posts, and so much more on those forums.  Maybe I’m not aware of them, but I can’t think of any other forums where someone who delivers the work Roger Deakins delivers is that open with his time and technique.  You can ask him about composition, style, lighting, camera settings and he goes so far to give you lighting diagrams.

What a resource. And the forum is pretty great too.