Here’s Episode 1 of Compound Productions’ first recurring web show, “Vino with Nino”. Host Nino Cooper, of the Dirty River Boys, introduces a new wine varietal with each episode and invites guests from the Texas music scene to talk about life as professional musicians on the back porch. Hope you enjoy.
When we read that the Austin Chronicle was hosting the Adult Spelling Bee (March 19, 2011) at Threadgill’s we were sure it was going to be a fun time and a cool event to document. As soon as we started filming we knew we would be able to make a brief documentary of the evening.
We’d like to thank the Austin Chronicle for allowing us to document and Threadgill’s for fulfilling our sound needs.
Watch the video at the chronolog.
In March, Compound was commissioned to produce a series of live concert videos for some prominent groups in the Texas music scene. For various reasons, I decided to shoot this event on the Canon 7D. Actually, four 7D’s. I come from a live television background, so the multi-camera shoot is not new territory for me. The challenges were all incidental to the nature of shooting video on a DSLR. The advantages, similarly, were all due to the nature of shooting video on a DSLR (see what I did there?). It was a huge learning experience, and below I’ll attempt to lay out the issues and what we could have done in hindsight to prevent them.
The 7D, as we all know, produces beautiful images, and our 35mm lenses offered the tight depth of field that subtly suggests high production value. Also, everybody has one.
I hired what I consider to be the best crew in Austin, for reasons I can’t really explain. They are technically proficient, but they are also each very creative. So when I gave them some guidelines for what I needed, they came through and then some. I guess I can explain it. That being said, in a live music situation, you have solos, backup vocals, b-roll and a host of other things worth shooting at any time. I could have given each camera operator an essay on what to shoot when, but it still wouldn’t have covered every situation that came up that night. I would have done anything to be able to view all angles simultaneously and communicate to the guys what I needed from them. Unfortunately, our budget couldn’t afford that. I came to terms with that very early on in the planning phase. The result of all this was the occasional double or triple-up of shots on a single member of the band. Not a huge deal. It’s the nature of the beast. Man, would I have loved to park even a simple 25′ truck outside and run multicore cable to each unit to switch live. Maybe next time.
Also, believe it or not, musicians do whatever they want, so setlists change. Since we were limited by record times, battery and card storage capacity, we only rolled on certain songs. On a few occasions, I wasn’t able to signal the guys to start rolling in time for the top of a song if it changed positions, which limited my angles in post somewhat.
This particular night was the grand opening of a brilliant venue in the city of San Marcos, the Texas Music Theater. Before the night got going, I spoke with the lighting director for the night, and asked him how neutral he was planning on keeping the color temperature, with my fingers crossed. He gave me the answer that I would have given him, had I been in that situation, which was that this was the first opportunity to test the lights in a real-world environment, so color temp would be changing approximately every second. And no, tungsten was not in the cards except to light up the crowd on occasion. We ran some tests during sound check and decided that our best option for white balance was ‘Daylight-Shade’. While I’m at it, our other shooting specs: 1080p24 at ISO1000.
CF Card Capacity
This is something we prepared for. Knowing that a 32GB card could only hold about an hour of footage, we set up a dumping station at the venue, which Ben managed. I also rented all the CF cards that were available from Precision Camera (as well as a sweet 70-200 f2.8 L series lens). No issues here. With a fast CF reader, we were able to get cards turned around within minutes. Of course, they never got too full. I didn’t want to tempt the dreaded buffer issue.
These were our major issues. All in all, it was a fun night, but also a great experience to test the multi-camera waters in a real-world situation. I welcome any thoughts or suggestions from people who have gone down this path before. We’ll be releasing one video per week for the next ten weeks, so stay tuned.
For the second consecutive year, I’ve signed up to work with the New Media department at SXSW. The position I take is that of a glorified volunteer. The traits that glorify it are 1) insane hours before and during the fest, 2) staff lanyard (the act of being handed a staff lanyard is simultaneously thrilling and depressing) and 3) I get to recruit my own edit team.
Officially, my title is New Media Editor Crew Chief. It’s catchy, I know. Even if it doesn’t appear that I get anything out of this at face value, I am always excited to take part in SXSW. It offers the rush of short production deadlines that I came to love and now miss from my time working in live television at ESPN. Additionally, SXSW is a great place to meet really smart and creative people. When I was a SXSW intern in 2010, my supervisor was a New Yorker by the name of Joe Nicolosi. I didn’t know it at the time, because the dude is so modest, but I was a huge fan of his work. He was the brains behind Star Wars: Retold, a hilarious interpretation of episodes 4, 5 and 6 by someone who hasn’t seen it. Genius.
This year, in preparation for SXSW, Joe recruited me to help with five film festival bumpers he was commissioned to produce. They were all amazing, but the one that has really caught the attention of the world is “Mario”. It’s a mumblecore-style, hipster interpretation of the story of Nintendo’s Mario. This short film takes the shape of a movie trailer where all the seemingly obscure features of the video game we grew up with are interpreted to make perfect sense. Go watch it if you haven’t yet. There are some one-liners in there that are sure to live on forever. Unfortunately, there are no plans to make this a feature length film, yet.
During the festival, I was more or less secluded on the south side of the huge Austin Convention Center, on the Mezzanine level, which most elevators and staircases bypass. We got moved from the North side, which we called home last year. This was an upgrade. Our department got to spread out into two rooms. Myself and the editors mostly stayed in one room where we had 13 Mac Pro’s and iMac’s set up. We brought lamps in and turned off the florescent overhead lighting. It was quiet and dark and a perfect environment for us, considering the circumstances.
I oversaw editors every day until 6pm, then either went to the IFC Crossroads House, the HP Airstream trailer park, or caught a show. The only requirement was free beer. It’s an easy requirement to fulfill, so almost anything goes. All in all, a great time. I can’t wait for next year. We’re hoping and planning for a centralized storage system and the implementation of Final Cut Server. Does anyone want to sponsor the New Media department? It would be awesome testing grounds for a medium sized server/ingest system. Help us say goodbye to sneaker-net.
There is currently no discussion more prominent among independent editors and post production houses as the one involving Final Cut Pro; specifically whether or not to stick with it, when there are other [and some would say better] options available. Most blog posts on this topic from other professionals make an attempt to sway their readers’ opinions, maybe just to convince themselves that they are making the right decision when it comes to their choice of edit platform.
I will attempt to verbalize the reasons for my decision to stick with Final Cut Studio in its darkest hour. Yes, we are observing its darkest hour. Two years have passed since the suite got a whole-number upgrade. When Final Cut Studio 3 was introduced, it included mostly cosmetic features [the timecode window, improved markers, iChat Theater] and other upgrades which tangibly improved the suite [Addition of Color, ProRes 4444 and AVCintra support, alpha transition support, background exporting]. Despite these additions to the suite, many professional editors we’re not satisfied with the upgraded toolset compared to other tools that were available at the time such as Premiere CS4 (and more recently, CS5). Pros were hoping for upgrades to the keyframe editor, native support for a larger variety of formats, codecs and resolutions and other feature sets that have been built into competing edit platforms for years. But, as the saying goes, it’s always darkest before dawn. My dawn is this coming April, when [according to rumor] Apple plans to introduce the next major Final Cut Studio upgrade. An upgrade which Larry Jordan has called “jaw-dropping”.
I am very aware that editors and post houses see Adobe Premiere CS5 as their solution to the Final Cut dilemma. In many cases, this is for good reason. For starters, round-tripping to After Effects is so simple. Final Cut Pro offers easy round tripping to Motion, but at this point, After Effects offers a broader toolset for effects work, so even die-hard FCP users will choose AE for their moderate to advanced keying needs.
Here are some of my reasons for sticking with Final Cut Studio. (disclaimer: if the next version of FCS is a true disappointment, I might reconsider, if for no other reason that to remain relevant in the industry.)
1. I grew up using Final Cut Pro. When Apple bought it from Macromedia in 1998, my dad picked one of the first copies. I was 13 years old. I installed it on my Mac out of curiosity. I learned the tool by capturing video that I shot myself, and I began to absorb the art and process of editing by watching movies and television shows. I did this without realizing that I was training myself for my career. Final Cut Pro was an advanced application, but it was so well designed that a 13-year-old kid never got discouraged, only more intrigued with every passing edit session. It’s this kind of attention to detail and ease of use that should never be ignored.
2. Aesthetically speaking, Final Cut Pro has stayed true to its roots. Despite the huge functionality improvements over the last 13 years, Apple has managed to keep the interface clean, organized and powerful. That’s how I like to work*. Premiere has a clickable button for every single operation. The first time I launched it, I spent 10 minutes just trying to identify everything I was looking at. Powerful, but clunky.
3. Final Cut Pro is built to let the process of storytelling take priority over showing off your toolset. First of all, nobody that uses FCS is trying to show off. The only people they would be impressing is iMovie users. Apple has been able to put Final Cut Pro in the hands of so many users that it’s no longer the elite application that it once was.
Now more than ever, the art of visual storytelling is being threatened by amateurs who don’t respect the power of manipulating images for the screen. The availability of the tools is tricking a lot of unqualified users into believing that possession of software is key to being a an editor. And sometimes they get lucky. Fact of the matter is, it’s not a job. Editing is a lifestyle.
I’ll continue this post at a later date, as I’m already at 700 words. If there is something you disagree with, let’s start a discussion.
I love QR codes. Whenever I see one I can’t help but scan it. Recently I’ve come across a few that I thought were interesting.
This past weekend my Mom had a huge birthday party and she bought herself some flowers from Home Depot. Guess what was on the tag. A QR code! After scanning it I found out that the orchid/bromeliad house plant that my mom got prefers filtered indirect light.
When I got back to work after the weekend’s celebrations there was an issue of Dwell sitting on my desk. While skimming through i spotted another QR on an ad for Lumens.com. It took me to the website where I could buy everything in the ad! If you’re feeling generous you can get me Desk 51 by Blu Dot.
I’m so excited that the new website is finally up and running. Of course, this is just one of the sources from which you can access all the goodness that is Compound Productions. We’ve got it all: Twitter, Facebook, YouTube and Vimeo. So however you’d like please contact us! We’d love to hear from you, even if it’s just to say how awesome the new site is!
See you around!
Thanks for visiting Compound Productions. We just unveiled the new concept for the website and you’re one of the first to lay your eyes on the refreshed design. You’re welcome.
We are proud of our “less is more” approach to the design. That was Ben’s idea, my brother. I tried talking him into allowing me to put animated GIF’s of wizards and flying pigs, etc. His design education threw up in its mouth a little bit, so I changed my tune. This blog is where Ben and I will cut loose and just let our words, pictures and links run wild. Not all posts will be business related.
The website’s goal is clear, we hope: we want to inspire you to spend your hard-earned money to hire Compound Productions, a small team of highly dedicated, trained and creative individuals, to produce video content that will inspire your audience to spend their hard-earned money on whatever it is that you’re selling.
The blog will be where we showcase the fact that we are up to date with the latest technology and trends that will help us tell your story most effectively.
If you like anything you see, please consider adding us on Facebook and Twitter using the links at the bottom of the page. As a young company with big plans, we’ll take all the love we can get to spread the word about a new generation of simple, authentic and effective video production.