A little more than a year ago I had the honor of recording the Arcata Inter-Faith Gospel Choir’s performance at the Arkley Center for the Performing Arts in Eureka, California. It was a spectacular show, replete with a live band, choreographed sequences, and the famous blues singer Earl Thomas opening with several songs. If you’re interested in purchasing the DVD then click here for more information http://www.arcatainterfaithgospelchoir.com/
Here’s a short song from the performance. It’s my favorite one from that evening.
I used five cameras on this show, three static and two moving, to capture the grandeur and energy of the performance. At the time it was the biggest and most complex live performance production that I’d ever managed. It was exciting. In the end I had hundreds of hours of footage to edit from all the cameras. Luckily for me there was no rush in post-production, so I was able to take my time and make sure that everything looked its best.
For me, there’s nothing like recording a live performance: the methodical preparation beforehand, the anticipation of the event day, the intensity of the moment once it’s begun, the unexpected developments, the fast & firm choices necessary to keep the production on track, and the release when it’s all over. It feels a little like shooting a wedding, which is perhaps why I love both of those types of gigs. Every production is different and new in some way. And it’s such a joy to be able to convey the energy and experience of the performance to the viewer who couldn’t attend the live performance.
Tip: When shooting a multi-camera event it’s helpful to employ cameras of the same make & model. Different makes & models of camera produce different “looks” to their image. By using identical cameras for all the angles it ensures precise color rendition in the final cut without excessive color correction in post.
Of all the short documentaries that I produced for the Pacific Coast Science and Learning Center this is perhaps my favorite piece.
When I first began making documentaries at Point Reyes National Seashore I was asked to make a piece on elephant seals. Point Reyes has long been a destination for elephant seals who like to breed and molt on its shores. They don’t do these things just anywhere, so it’s a special characteristic of the park. Also, elephant seals are the very definition of charismatic mega-fauna, so they make excellent video subjects. The only problem I foresaw was collecting footage: I began working at Point Reyes in the summer and elephant seals only breed there in winter.
The solution was to use the park’s own footage of the seals for my documentary. Park Rangers and park biologists had been collecting elephant seal footage for years, and I had access to all of it. However, their expertise was not in shooting video but rather in studying these animals, so the footage was rough. I began culling the copious amounts of seal footage for usable tidbits. This process took a long time.
Once I had enough elephant seal footage I began writing a script for the documentary based on the selected footage. Then I interviewed the park’s elephant seal experts using questions gleaned from my script. Using this interview footage I wrote a voice over narration script to fill-in the missing pieces of the elephant seals’ story. I then pulled all these pieces together into a rough cut of the documentary. This rough cut was reviewed by my superiors who absolutely loved it. Except for one thing: they thought that the elephant seal footage was lacking a professional touch.
So they invited me to come back to the park in the winter to shoot the elephant seals myself. I could then use my footage in the fine cut of the elephant seal documentary. No problem. Except for one thing: the entire script had been written around the original footage which had been shot by the park’s biologists.
To work around this I had to recreate the same shots I used in the rough cut. Not an altogether easy task when working with wild animals, unpredictable weather, and a very limited amount of production days. But in the end I got my footage, I supplanted it into my final draft of the documentary, and I do believe that it turned out well. But you just never know where a video production is going to take you once you start in on it… and beginnings matter.
Caution: elephant seals are a territorial and unpredicable species, especially during their breeding season when they are hulled out on shore. It may be tempting to approach them for pictures or video but please keep your distance. Not only could you endanger yourself but you could also threaten their natural breeding behavior. Their species is still recovering from near extinction due to human interference. They need all the peace and protection that they can get.
This is another science documentary that I made for Point Reyes National Seashore back in 2009.
This documentary was the most difficult of the bunch. Its focus is not a charismatic mega-fauna like the Tule Elk or the Elephant Seal. It’s about a microscopic organism invisible to the naked eye. Yes, this presented some challenges. I recall thinking “how do I make dying trees interesting on video?” Well, I think that you’ll see how I answered that question with the video’s opening shot.
There were some technical difficulties on this project as well. One of our production days took place deep in the Park in a region decimated by the disease. It took all morning and all afternoon to drive in and out of this location. I brought along two SOD specialists to interview in and amongst the dead trees. Because of their busy schedules I only had one shot at this dual interview. To my relief, everything seemed to go splendidly on the shoot. It was only on the next day when I looked at the footage that I realized that something had gone horribly wrong. The footage was all digital garbage. I had two hours of blinking pastel confetti on my video tape. I was only able to salvage a single shot: one of the specialists’ hands pointing to a severed tanoak tree trunk. Was it the temperature differential under the forest canopy that caused condensation on my mini-DV tape? Was it the receiver of the wireless lavalier microphones attached to the camera that caused radio interference? Was it sun spots? To this day I wonder why the footage was digitally garbled. I guess some mysteries will always remain unsolved…
The science videos I made for Point Reyes National Seashore (available on their Media Webpage) needed voice-over narration for their final cuts. Unfortunately, the Park Service did not have a sound studio to produce audio recordings. I had recorded “place holder” narrations using a consumer-grade microphone plugged into the Park’s old Canon GL2 camcorder. This worked fine for rough cuts but would not suffice for the final product.
Luckily, with the help of Professor David Sheerer and Timothy O’Malley, we were able to record the voice-over narration in a professional sound studio on the campus of Humboldt State University. We used Pro Tools to digitally capture the audio from our voice actor. We used a Sennheiser 416 microphone to give the audio an in-the-field documentary feel. The sound booth was acoustically dampened with fabrics and baffling. It was quite an experience and the narration turned out excellent.
Tip: use a “pop filter” in front of your microphone to dampen any hard p’s in your narration. If you can’t afford to purchase a pop filter then you can easily construct one from common materials. Check out this DIY link here
This photo shows one of the most difficult dolly tracks that I’ve ever made. The total length of track is about 20 ft. The ground was comprised of a thin layer of moss covering a thousand years’ worth of pine needles. Walking on this forest floor felt more like bouncing on a gymnastics spring board. So laying the track was plenty difficult. As you can see it took about two dozen apple boxes and a hundred wedges or more to make the track level.
This was last fall when I had the opportunity to work with Creative Differences, a production company out of Los Angeles, making a television show about dinosaurs to be aired on the Discovery Channel. There were a lot of static shots (they’re called “plates” in the industry) of old forests or empty beaches. After shooting a 30 second plate we’d “fly in” giant wooden panels painted bright blue and place them behind shrubbery, trees, or rocks. Then we’d shoot the same plate with these blue panels in the frame. Sometimes we shot the same plate a dozen times, moving the blue panels between each shot. These blue panels would allow the computer animators to “paint in” CGI dinosaurs in post. Pretty fun stuff.
Tip: Use a yardstick style bubble leveler to make sure your track is perfectly flat. You can buy one at any hardware store for $15. Be sure to level your track before you put the dolly on it.