Posts Tagged ‘editor’

28 Jun

George Bolden – Jib Operator Extraodinaire

Posted by docsandtv in Production Expert Interviews, Television Production. Tagged: , , , , , , , .

If I could just a jib on every shoot I would.  Large sweeping shots add class to the look and feel to any project. I worked with George Bolden earlier this year when he worked as a Technical Director, Camera Operator and Editor and a television series that we worked on.  Because of his breadth and depth of technical expertise, I jumped at the chance to work with him as a Jib Operator when the opportunity presented his self.  I recently had the chance to chat with George about the art of operating the jib.

What do you like most about being a jib operator?

I enjoy creating dynamically interesting visuals for the audience that can reveal or subdue a point of interest.

How much work is involved with setting up the jib?

There is a considerable amount of work involved in the set up process.  This is more of a “10,000 foot view” of what needs to happen but there are lots of fine details and procedures omitted:

First, the jib operator has to confer with the Director of Photography to understand the vision of the story they are trying to capture and suggest composition of jib shots.  Second, is determining the physical operating space requirements, type and weight of camera to be operated, identifying any hazards such as overhead power lines and weakness of the ground footing and correcting for any issues before construction of the jib.  (On average, the complete jib setup can weigh between 250-800 pounds or more split over three or four points of contact.) Third, determine length of the jib arm needed to accomplish the vision. Then level and build the system.  Fourth, balancing the camera and jib arm to very delicate touch.  Finally, power up and test and start shooting.

All in all it takes between 2-3 hours to set up and test out depending on the shooting situation.

How do you think using a jib helps enhance a production?

Jibs are not utilized as much as they could be and I attribute that to a lack of understanding of the tool by many who have little or no experience in what they can deliver.  A jib can help a producer by adding smooth controlled movement in almost any direction to aid in telling a story as well as helping to keep the audience’s attention by stimulating the brain.  Movement can be very subtle or  dramatic and will add to the production value of the project.
You do all sorts of things as a production professional.  What do you do besides operate the jib?

Well, I have primarily worked as an On-Line Editor for over 25 years utilizing every form of videotape to the latest digital NLE systems, which led to my appreciation of the jib camera.  I also do a fair amount of Technical Directing. I look at being a TD as a natural extension of editing because in reality, it is just live editing.

 

23 May

Working From Home: Editing

Posted by docsandtv in Opinions, Television Freelancing, Television Production. Tagged: , , , , , , , , , , , .

I’ve always fantasized about hiring an entire production staff that could work from home.  It doesn’t work for everyone, but I work much better in the comforts of my own house (and backyard). While is it possible, many supervisors remain resistant.  One reason it is often easier to communicate edit ideas with editors as they edit.  This has never been a big hinderance for me personally because I don’t mind being sent, emailed or FTPed a program and then writing up edit notes to send back.  Sometimes I feel that I need to sit with the editor for morale sake because they have to go into the office. 

Recently, I had the eye-opening experience of working with my editor friend Jenny Gebhardt.  I was at work sitting at the Final Cut Pro editing station. She was at home editing on her Final Cut, and; because of screen sharing, I was able to see everything that she was doing.  It as a little freaky at first to see the cursor and timeline seemingly moving on their own.  One of my colleagues thought I was talking to myself while I was giving Jenny instructions through the computer microphone.  Perhaps I am late to the game, but this totally blew my mind!  Who needs the overhead when everyone can work remotely?  It may be some while before working from home is the norm. But I’ve been ready for it for a while now.

15 Mar

Field Etiquette

Posted by docsandtv in How To's, Television Production. Tagged: , , , , , , , , , , , , , , , , , , , , , , .

Field shoots are always hectic.  A lot has to go on at the same time in order capture the best footage to make the best show possible.  The audio, visuals, crew, talent, paperwork, set pieces, wardrobes, scripts, equipment and any number of other things all need attention.  It is easy to forget to do something small that could have a big impact on the production. 

I asked some of my production buddies for their most important dos and don’ts while in the field.  Here is what we came up with:

  • Use a checklist to help keep track of what needs to get done.
  • Label the tapes (with the date) as soon as you are done with each tape.
  • Pay equal attention to the audio as you do the video.
  • Turn off your cell phone while the cameras are on. You don’t want to be the one person whose phone rings or vibrates during the shoot.  Even phones on silent mode and affect audio quality.
  • Always record “one more” for safety.  It is sometimes hard to tell if a take is good during the intensity of a shoot. An extra take will increase your changes for getting just what you need.
  • Don’t forget bars and tone.  Yes, your editor really does use these things to help ensure that the color and sound of your footage is legal.
  • Don’t forget room tone.  Your editor will love you.
  • Bring water and healthy snacks.
  • Put a lunch break in the schedule. Crews like to see that. Yes, schedules are tight but if your crew sees that you are considering their food and hydration needs, they will work that much harder for you.
  • Be on time. Promptness is the first thing to consider if you want to be hired back again.
  • Bring extra copies of every document.  Scripts, schedules, releases and log sheets often get lost in the shuffle.
  • Bring pens.  You can never have enough.
  • Come with more tapes or hard drive space than needed.
  • Be prepared. The most important field work starts before you hit the field.
  • Relax and have fun! This is TV not brain surgery.

14 Jan

Tape Labeling Etiquette

Posted by docsandtv in How To's, Television Production. Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , .

Yes, I am a tape labeling maniac.  I let every crew I work with know this about me.  I believe that every professional document is the ultimate communication device.  This is especially true for tape labels.  Yes, we are moving into a digital world where a lot of footage is moving around on drives.  But drives and discs sometime need labels.  And, tapes are not dead yet.  I don’t care about spelling. I’m not the best speller in the world myself but I do what to know what is on that tape.

Where did this labeling snobbery come from?  I lay the blame squarely at the foot of America’s Most Wanted.  I worked on the show early in my career and quickly learned the benefits of a well labeled tape.  At AMW, as at many places, the tapes moved between so quickly between so many people (producers, associate producers, shooters, transcribers, editors, production managers, etc.) that it was critical that all the pertinent information be placed on the label so that any person at anytime would know what was on that tape.  This point was driven home years later when I helped a production company sort through their archival tapes that were boxed and stored in a closet.  It was nearly impossible to tell what was what because the tapes were labeled with one word that meant nothing to anyone who was not there when the tape was shot.

Here is some basic tape information I like to include:

  • Name of project, tape number, date
  • Subject name, title, city
  • Type of footage shot (interview, B-roll, stills)
  • Technical specifications (frame rate and frame size)
  • Audio info like what was recorded on each channel

If space allows, I’ll also include:

  • Producer name
  • Crew names
  • Production company and telephone number (in case the tape gets lost in transit)

If I am working on a long shoot that will generate a lot of tapes, I pre-print labels with all the consistent information typed out.  I leave space to fill in information that will change from tape to tape like tape numbers and dates.

Now that I am supervising and executive producing more projects, I don’t go out into the field as much. But I do give a tape labeling demonstration every time I work with a new production staff after which I expect tape labels to come back full of significant information.

11 Jan

B-roll Basics

Posted by docsandtv in B-roll, How To's, Television Production, Tools and Resources. Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , .

Where would we be without B-roll – that supporting footage that helps visually demonstrates the theme or thought of a piece and bridges interview bites, ideas and cuts?  If you’ve watched the news, you’ve seen B-roll.  Here is a funny video called “We Got That B-Roll” that makes fun of B-roll that is often over used in commercials: http://www.youtube.com/watch?v=SItFvB0Upb8&feature=player_embedded.

In most non-fiction productions, good B-roll is crucial to building a visually exciting and meaningful video.  I have been in the unfortunate position of getting into the edit suite and not have enough B-roll footage to cover the cuts. Or, not having enough to cover long, visually uninteresting interviews.  I’ve long since learned that whatever B-roll you think you may need, get it and then some. 

Before any shoot, I like to think about B-roll possibilities and list them out on the taping itinerary.  Locations scout helps tremendously. But even when a scout is not possible, a nice B-roll options list can be created from talking to the interview subjects and other people at the location.  I like to list out B-roll possibilities that directly speak to the subject at hand and then list out general shots that will work with the overall theme.  For example, if I am taping an interview about creating a family budget, I’ll specifically get a member of the family working on a spread or paying bills.  General B-roll might include family interaction like cooking together or walking the dog.  Now I have both specific and general shots that will cover whatever is mentioned in the script.  For a short 5-minute piece, I’ll get a minimum of 3 topic-specific and 3 generic activities.

As a producer, it is my job to communicate my B-roll wants and needs to the camera operator.  Freelance cameraman Matt Martin (www.mattmartin.tv) likes producers to give him as much information as possible about the projects as well as share any specific ideas prior to shooting.  That way, he can use the shoot time shooting rather than standing around trying to figure things out.  He likes to know the type of project, the length, the style and even the audience.  “If the piece is for a younger audience, I may use a lot of snap zooms and whip pans.  If it is long form, I may hold the shots longer.”  Matt likes to create a visual sequence by starting with an establishing shot, moving in to follow the action and then getting tight, detailed shots.  He also likes to know how much time will be covered by the B-roll.  “Needing 30 seconds of B-roll is very different from needing 3 minutes.”

Martin adds “A 30-second edit or b-roll cover time may need as many as ten shots to fill the time and tell the story. As a Director of Photography you can capture footage at 7-second intervals and have your producer covered if you have at least twelve clips in the camera. I try to cover my clients by putting heads and tails on the ends of each clip. This is done by adding 5 seconds of static (not moving the camera) at the beginning and ending of each shoot.  It’s very important and the editors will love you for it.”

Getting a variety of types of shots is important. I like to get different angles from bird’s eye to worm’s eye views.  If I am covering Marine Corps training, following the troops then letting them march out of frame can create the feeling of orderly movement.  A nice low angle of boots marching through the mud or an extreme close up of the Sergeant’s mouth barking orders with spittle flying all over can bring the audience into the moment. 

Sound is also important.  Many times, visual don’t make as much sense without the corresponding audio.  What’s a police car tearing down the street without the sound of screeching wheels?  A couple of common mistakes are forgetting to turn on the camera mic or talking while the camera is rolling.  In some cases, you may want to use a more power microphone to make sure you get strong, clean audio.

Now that the footage, including B-roll is shot, it is time to edit.  Having enough varied B-roll will help any edit run smoother.  As an editor, Gemal Woods (www.parktriangle.com), feels that you can never have too much B-roll.  “Get all the B-roll you can.” He says.  “You never know what the creative process will call for in an edit suite.”  After that, what he looks for in B-roll is project specific.  “If it’s long form, longer shots are good.  If I’m working on a promo piece, I’m looking for options over length. In that case, short impactful visuals work well.”  Woods, who is also a cameraman, believes some of the best B-roll is spontaneous and urges producers to leave enough time in the schedule to get those unplanned moments.

When you can’t get the B-roll yourself, you can always purchase some from archival footage houses or news outlets.  This is particularly helpful in demonstrating things that have happened in the past.  But whatever your project, spend some time before going into the edit suite to determine what you need and the best way to get it.

For more b-roll sources and information, visit the B-roll category.

4 Dec

The Work of Indpendent Documentarian: An Interview with Emmett Williams

Posted by docsandtv in Grants and Funding, Production Expert Interviews, Television Freelancing, Television Production. Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , .

Just what does an independent documentarian do?  Where does he/her get  ideas?  How does he/she make a living at it?  I recently had a conversation with Emmett Williams, independent producer, to find out how he manages a career making documentaries.

I’ve had the opportunity to work with Emmett on several projects and am impressed with his scope of work.  His television credits include producer, writer, editor and camera operator.  His work can be seen on such national networks as The Discovery Channel, Animal Planet, TV Land and public television.  Emmett is also a song writer/performer, photographer, concert producer and journalist.  his passion for media and the arts is clear to anyone that has worked with him.  Emmett, a vegetarian, even ate seal meat to connect with his subjects during a shoot in Alaska.  What I’ve found particularly striking is his commitment to his projects and his ability to keep a sense of humor about everything his does.

As an independent producer, what type of productions do you produce/work on?
Mostly, I produce long and short form documentaries. Sometimes they’re ideas that I’ve come up with and sometimes I’ll partner with a non-profit organization to make a film about a topic that is important to them. For example, the film “Camp Twitch and Shout – The Movie”, which will be available online December 7, is a partnership between myself and the Tourette Syndrome Association of Georgia.

There are also a few online only projects that are in the works that are destined for YouTube or the Mission Man Media website, like a series of shorts about artists called “The Form Appears” and another series entitled “Everyone Has A Story”.

Finally, there are a few things I want to do that will be specifically for museums and galleries.

How do you find the projects that you work on?
It’s rare that I go out searching for stories to tell. Usually the stories just arrive serendipitously. For a documentary that will start production in January, the idea came from a conversation I had with a friend in a bar just a few months ago. There are an endless amount of stories out there that are waiting to be told, you just have to keep your ears open. I’m fortunate to be in some form of production on projects that will keep me busy through the first half of 2011.

How have you raised funds?
Every way possible. I’ve won grants, been funded by the organizations that I’ve partnered with, friends, family, the coin jar in my bedroom. Any way possible. I read somewhere that it takes 3 years on average to raise money for a documentary. You have to spread your fundraising wings as far and wide as possible.

I’m in the process of raising money now for a project in Africa and I’ve literally sent hundreds of emails, applied for grants all over the world and spoken with people on three continents trying to get it made.

Sometimes you work on freelance gigs for other people.  How do you feel about that? Do you limit the size and scope of freelance gigs?
Making documentaries is cyclical in that you make a film, then raise (beg) for money for your next one, so you have to earn money during that downtime in between projects. If I’m inbetween projects, I’ll preferably do some freelance writing or producing for television or for a company that needs something small, but I’ll do anything really to keep me out of an office.

BUT if someone from an office is reading this…and hiring on a temporary basis….

You often work as a one-man band producing, shooting and editing. Is there a lot of pressure to be responsible for every aspect of a project?
I really prefer working alone because I like the intimacy of just being one-on-one with the subject. I’ll often spend a few days just hanging out with whomever I want to interview before I even bring out a camera. I think if you are prepared ahead of time and really know your equipment it cuts down a lot on the possibilities of something going wrong. Of course, life would be easier with a crew as far as dealing with the equipment.  But for me, its worth the few times when I’ve forgotten briefly to turn on the audio or left something back at the hotel to continue to work independently. And the more you do it, the easier and more organized you become. The real key is a comfortable backpack and pants with lots of pockets. If you have those two things you’ll be fine.

Do you feel that there is a lot of room for creativity when producing a documentary?
The style of documentary that I like to do relies a lot on serendipity to be honest. I like to leave a lot of time to wait for things to happen.  Often, things are happening quickly and you are happy just to get the shot. While this style doesn’t lead itself to as much creativity as a fiction film, there is always a little room to put your own personal stamp on a film. It really takes sitting down before you start shooting and making a firm decision about the look and feel of your project.

I also think the most important aspect of making a documentary is the story and content. No matter the style, if you have those two things you can craft a strong project.

What is your favorite part about producing and why?
My favorite part is that moment that happens in most interviews where the subject finally lets their guard down and really opens up about whatever you are trying to get out of them. I really think everyone has a story and it’s my job to get it out of them.

What is your favorite project to date and why?
I’m editing the first of a four-part series called “Native Past, American Present” about the efforts Native Americans are making to hold on to their history, culture, and identity. I recently spent a month in Alaska on the project and everything about it was special. Incredible people, important stories, and beautiful landscape. That’s been my favorite so far, and I plan on going back next fall to spend two months working on part two of my series. And while I’m there I’ll be working with the Sitka Tribe of Alaska to teach filmmaking to Native children.

How did you get started?
I’d worked in television for about ten years when I decided that I really preferred working for myself, or at least on projects I really believed in. One day I decided that’s what I would do. In hindsight, it might have been less complicated to ease into documentary filmmaking instead of jumping into it blindly, but I knew what I wanted and somewhat knew how to get there. So, I just announced that I was a filmmaker and it’s grown from there.

Any advice for those seeking to do what you do?
Just do it. Cameras are dirt cheap, editing software most likely comes with your computer, and its free to put your stuff up online. There are an infinite amount of stories to tell. There are really no excuses if it’s something you truly want to do.

For more information about Emmett Williams and his work, please visithttp://www.emmettwilliams.com.

12 Nov

TV Moms – Balancing Home Life and Producing

Posted by docsandtv in How To's, Opinions, Television Freelancing. Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , .

As my own mother puts it, “Motherhood is more than a notion.”  The demands, intensity and rewards are talked about, blogged about and dramatized in fiction.  With the non-stop schedules and sometime infantile personalities, television production work can be just as challenging.  Put the two together, and you may have a recipe of serious stress.

 How can TV Moms balance the demands of the family they love with the career they love (or at least find themselves in)?  I recently took part as a panelist in a discussion about motherhood and production hosted by the Washington, DC area Woman in Television and Film association to discuss that very question.  We shared some tips to help juggle it all.

  • Give up the notion of Super Mom.  There is no such thing.  We are all Super Moms if we are loving and attentive to the needs of our family.  But this does not mean we are perfect.  I once sent my daughter to daycare in two left shoes.  It’s a long story.  The point is, she survived and doesn’t even remember it.  At the time of writing this article, I am feeling pretty good about my children’s development and my career development.  Just don’t look in my car – it’s disgustingly dirty.  And it’s not because of me that our floors are fit to eat off of. Thank God for Daddy!
  • Join a TV Mom’s support group or start your own.  An editor friend and I decided to have TV Moms play date.  We invite other mothers in the industry to bring their kids, hand-me-downs and resumes. It’s fun and rejuvenating.  Plus I may have just gotten a gig because of one.  I also started a Goal Group with some Super Mom friends of mine.  We get together once a week, sometime via telephone, to set goals and hold each other accountable.  That’s how I finally got this blog site off the ground!
  • Get a mentor.  No matter how far along you are in your career, there is always someone who has had more experience. Perhaps it is in production or perhaps it is in being a working mom.  Perhaps it is in an area of production that you’ve never explored.  It doesn’t matter if they are younger or older, man or woman.  It is just nice to have a “go to” person who can help you navigate your career.  My mentor is a single mom and an industry heavy-hitter.  She has given me helpful advice over the years and priceless job recommendations that have resulted in gigs.
  • Research family friendly companies.  If you are working in a situation that is not compatible with your family life, research other options.  It may take awhile but it is possible to change your job environment.
  • Craft a support system.  I am lucky to leave in my hometown with a number of family and friends that I can call on if I have to work late or travel.  If you can afford in-home help, consider getting a nanny while the children are young.  As the saying goes, “what all working women need is a wife.”
  • Search out flexible opportunities.  Perhaps job sharing or working from home is an option for you.  If not, perhaps you can work through your lunch break Monday thought Thursday and work a half day on Fridays.  For two years, I searched for a work from home situation. I didn’t give up and have been working from home for the last 6 months.  This round of working from home may not last forever but I’ll keep searching for something permanent.

Don’t forget that you are not alone.  All TV Mom have moments when they feel that they are not doing a good job at home or at work.  The trick is to keep these moments to a minimum and not let them get you down.  Every once in awhile, that guilt monster tries to jump up on me.  But when I look at my children, I see that they are doing well, growing strong and enjoying life.  It’s okay if we miss our swim play date this time.  No one will fail to graduate high school if we put off potty training a couple of weeks until Mommy finishes shooting that news special.  And it’s okay if the kids have oatmeal and broccoli for dinner once in awhile.  In fact, they like it.  Just keep doing the best that you can and believe it or not, your best is good enough.

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