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Transcript: Digital Production Buzz – April 3, 2014

Digital Production Buzz

April 3, 2014

[Transcripts provided by Take 1 Transcription]

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HOSTS

Larry Jordan

Michael Horton

GUESTS

Jeff Foster, Writer, Producer, Trainer, Adobe Community Professional, Pixel Painter

Micki Krimmel, General Manager, Creative District

Jon Carr, Creative Director, Jon Carr Productions

Philip Hodgetts, CEO, Intelligent Assistance

Sam Mestman, Workflow Architect, FCPWorks

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Voiceover: This Digital Production Buzz is brought to you by Blackmagic Design, creators of the world’s highest quality solutions for the feature film, post production and television broadcast industries.

Voiceover: Live from Ralph’s Maytag Museum and Podcast Studio in beautiful downtown Burbank, it’s the Digital Production Buzz.

Voiceover: Production, post production, distribution.

Voiceover: What’s really happening now and in your digital future?

Voiceover: The Buzz is live now.

Larry Jordan: And welcome to The Digital Production Buzz, the world’s longest running podcast covering creative content producers and tech news from media production, post production, marketing and distribution around the world. My name is Larry Jordan. Joining us is our co-host, the giggling Mr. Mike Horton.

Mike Horton: Hello, Larry.

Larry Jordan: It’s good to see you, Michael.

Mike Horton: It’s good to be here, even though there’s not only a lot of washing machines, but there’s a lot of boxes and pelican cases and cables and, good Lord, this place is a mess.

Larry Jordan: We are packing up to go to NAB and we are taking more cables and audio gear. You’ve got to join us, by the way, for our cable rolling session that I’m doing first thing Monday morning.

Mike Horton: That’s exactly what happened to the Supermeet. We sold out as soon as we announced you’re going to be there early for a seminar on how to wrap cables. Hundreds of tickets were sold and they’re all gone, so forget it.

Larry Jordan: And I think they should have hundreds of tickets sold, because rolling cables is important if you want to keep the kinks out.

Mike Horton: It is. Bring your cameras, folks. It’s worth it.

Larry Jordan: We’ve got a great show before we head off to NAB and load the truck on Saturday and set up on Sunday. If you haven’t, do check out the website – nabshowbuzz.com – for all the details. But tonight we’re going to be joined by Jeff Foster, an author and producer who’s recently created a new workshop on working with drones for film makers which runs in parallel with the 2014 NAB show next week. Tonight, he flies in – you get that, Michael? He flies in on a drone – anyway, he flies in to explain aerial film making.

Larry Jordan: Then Micki Krimmel is the General Manager of Creative District. This is a new website with the goal of making the world a more creative place one project at a time. She joins us to explain what this new website provides.

Larry Jordan: Jon Carr is the Creative Director of Jon Carr Productions. One of his specialties is time lapse photography, which is what we want to talk with him about tonight; and Philip Hodgetts, the CEO of Intelligent Assistance, and Sam Mestman, the CEO of FCP Works, swing by to share their preview of next week’s NAB show. We want to find out what they expect and what they’re looking for at the show.

Larry Jordan: Just a reminder, we are offering text transcripts for each show, courtesy of Take 1 Transcription. Now you can quickly scan or print the contents of each show, as well as listen to it. Transcripts are located on each show page. You can learn more at take1.tv and thanks, Take 1, for making it possible.

Larry Jordan: As Mike mentioned, the office is filled with boxes of gear. We’ve got seven vanloads as we’re getting ready to head to Las Vegas to cover the NAB show next week. For our complete coverage of NAB, visit nabshowbuzz.com. Our coverage starts live on Monday morning at 10.30am, then again at 2pm with two different live shows direct from the trade show floor. Michael, are you going to NAB?

Mike Horton: I am. We ought to meet each other in Baker on Saturday night. I know you’re driving at that time and I’m going to be driving that time. We’ll have lunch in Baker before we head into Vegas. It would be awesome.

Larry Jordan: I think that would be great, especially because there are some wonderful train tracks that roll through Baker and Michael is…

Mike Horton: Yes, it’s a fun place. We can eat at that Greek place.

Larry Jordan: Oh yes. You know, the place that I tend to eat is the ‘50s diner.

Mike Horton: Oh, that’s a nice place.

Larry Jordan: Right by the Marine Corps base. That’s a great place to go, and thinking of great places, we’ve got great places to talk about next week with the NAB show and we’ve got great people to talk about and with tonight. We’re going to start with Jeff Foster, coming up right after this.

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Larry Jordan: Jeff Foster is an internationally published author of several computer technology, animation, video production and VFX books. He’s an award winning producer and compositor/visual effects artist and nationally recognized as a speaker. Hello, Jeff.

Jeff Foster: Hello, Larry, how you doing?

Larry Jordan: We are talking to you. It’s the start of a great show. We are delighted to have you with us.

Jeff Foster: Well, I’m glad I could be here this week. I’m heading out really early in the morning to drive to Las Vegas.

Larry Jordan: Jeff, the show does not start until Monday.

Mike Horton: Yes, Jeff, why Friday?

Jeff Foster: Well, I’m bringing a truckload of gear because I’m doing some conference sessions on the weekend. We’re doing a hands-on field trip for aerial videography on Sunday out in Nelson, and that’s part of the Post Production World Conference, and then on Wednesday I’ve got a full-day live green screen production workshop that I’m doing, so I’m bringing all the lights and gear and cameras and everything to make that happen.

Larry Jordan: Well, you’ve been doing green screen work for a long time, because I remember you wrote a really good book on green screen a year or two ago, which I always refer people to because it’s just outstanding in terms of green screen and the technology involved. But what got you involved in drones?

Jeff Foster: Well, drones is a dirty word.

Mike Horton: Yes.

Jeff Foster: Even though people use it and it’s kind of a shortcut for what it is, we call them multi-rotors or quad ‘copters if it’s got four blades or a hex if it has six, octo for eight etcetera.

Larry Jordan: All right. Wait, wait, wait, let’s get the term right, then. What are we calling it today?

Jeff Foster: It’s a multi-rotor craft and that means there are multiple rotors, it’s like a helicopter because it is a radio controlled flight. It’s an expensive one in most cases, but it’s not a drone. A drone is actually a military unmanned aircraft that flies like an airplane. Usually they’re for surveillance or for shooting things, so these are not drones even though people call them that, but I don’t subscribe to that line.

Larry Jordan: So we have a multi-rotor remote controlled helicopter flying craft with a camera.

Jeff Foster: That’s what it is technically, yes.

Larry Jordan: So what got you first interested in this multi-rotor helicopter flying remote controlled craft?

Jeff Foster: Well, I’ve been a GoPro guy for a long time. I put them on everything from dogs to horses to cars to boats to planes, whatever, and this particular device became available about a year and a half ago from DKI, which is the DJI Phantom for the GoPro and I first got one in my hands, because I wanted to get the camera up in the air and see what’s around it, and I thought this was great – I’ve wanted to do that for years. I’ve experimented with trying to get kites to pull them up and balloons and different types of things, but you can’t get a very steady shot and you can’t aim anything if you just send that up there wrangling the camera around, so this was a perfect opportunity to do that.

Jeff Foster: And it has just taken off like wildfire. The industry has just totally exploded and I got kind of sucked into the vortex of it because, like any other hobby out there, you can become consumed by it if you allow it and people want to know more, so I just keep investing my time and resources into it and seeing what I can do with it and it’s just really taken off. It’s a lot of fun.

Mike Horton: I’ve got to say this, and you might have heard about this, Jeff, but there’s this town on Colorado, I think it’s Deer Valley or something like that, which is issuing hunting licenses for drones.

Jeff Foster: I have heard that, yes, I have heard about that. That’s right.

Larry Jordan: So let’s focus on, Grant in our live chat refers to them as unmanned aerial vehicles, a UAV, so rather than do multi-rotor remote controlled flying helicopter, we’ll just do an unmanned aerial vehicle.

Jeff Foster: That’s right. UAV is fine.

Larry Jordan: Which shots work best when you’re using a UAV?

Jeff Foster: Well, it really depends on the level of UAV craft that you’re working with. If you’re working with a lower end one, which is what I primarily use, it depends on so many factors but at the low range, you can get into it for about maybe $700 or $800 including the GoPro and one of these craft. You can get up there and you can take pictures, you can take some shaky video; and then DJI has made their own Phantom Vision that has a built-in camera in it, it doesn’t need a GoPro, and you can take some fairly decent photos with that. Again, the video’s not great unless you get a gimbal on it and a gimbal allows you to have two to three axis stabilization, kind of like a little Steadicam.

Jeff Foster: So that really gives you smooth video when you get into that. Of course, you’re talking about more money and as long as you’re with the quad ‘copters, which is four blades, you’re probably going to be either using the built-in cameras or a GoPro, you’re not going to want to give it anything bigger.

Jeff Foster: You get up to the bigger ‘copters that have six and eight blades, hex and octos, then you can start looking at bigger cameras and you can get a Sony NEX up there or a pocket cam, Blackmagic pocket cam. Some guys are getting really big ‘copters and getting a DSLR or RED cam up there. Again, the bigger the craft, the less agile it is, so you have to have a lot more space and you probably are not going to fly quite as tight as you can with the little guys.

Jeff Foster: I shoot 2.7k at 30 frames per second on my GoPro and I get beautiful footage from that. I’ve got some really nice footage, so it’s fine for a lot of purposes without getting into a whole lot of money.

Mike Horton: Are there any FAA restrictions or anything like that? Are there no rules here? Or is that only if you get to the bigger ‘copters?

Jeff Foster: No, the rules apply to everybody, it doesn’t matter what size craft it is. Of course, obviously there are safety issues that you have to adhere to, which is you can’t go above 400 vertical feet from the point of takeoff, you can’t be any closer than two to three miles from a landing strip, from an air strip, and of course there are areas that are protected wildlife areas you can’t fly in them, things like that, so it does take some getting to know where you are, what space to fly and all of those issues are really important to know for anybody.

Jeff Foster: I belong to the AMA, which is the Academy of Model Aeronautics, but it’s really important to get educated on what is appropriate and what isn’t appropriate. Now, the big issue with the FAA right now is it’s against any kind of commercial video. They don’t want you to shoot anything commercially. You can be a hobbyist and have all the same cameras and go up there and fly and shoot beautiful videos, you just can’t do it for money and they had a case against a guy that had done that and he ended up winning – they’re appealing that now. It’s all up in the air – pun intended – as to where that stands and so best to not piss off the FAA and just kind of adhere by common sense, safety and do it as a hobby and not for business at this point.

Larry Jordan: You’ve mentioned that there are three broad categories of flying craft – a four rotor, a six rotor and an eight rotor – and the main difference between those, that I’ve understood so far, is lifting capacity. The more rotors, the heavier the camera this can lift. Is there a difference in brands, or can you buy any four or six or eight rotor and expect the same performance from it?

Jeff Foster: Well, there are different brands and different set-ups with those brands. DJI makes most of the brains; the NAVA brand used in a lot of other manufacturers’ ‘copters, but DJI is one of the top ones out there. Now, I have done a lot with DSLR Pro. Those guys take a DJI ‘copter and they modify it, put in enhanced electronics and motors and FTV, which is first person viewing, capabilities in it, updates to transmitters. They do all of this amazing work to these little ‘copters for a nominal fee and that will extend the life of the battery, it’ll stay in the air longer, you’ll be able to see where you’re flying through your FTV monitor, all of that, and they’re doing that with the quad ‘copters right now and they’re also expanding into the bigger ‘copters.

Jeff Foster: Now, it is really a fairly new category which is exploding and I think you’re going to see a lot more people entering the market to challenge DJI and other manufacturers out there, so I think maybe even at NAB we may see some surprises, but I think by summer we’re going to see a lot of improvements, enhancements and a lot of competition in this space.

Mike Horton: I’m almost banking on it. This last year, we saw just a little bit of those little quad ‘copters, but I bet you anything there’s going to be a whole bunch of them there at NAB this year.

Jeff Foster: Yes, I think it’s going to be crazy.

Mike Horton: Yes, it’s going to be crazy, especially if you get out there between the center hall and the south hall in that little open area. There’s going to be drones flying all over the place.

Larry Jordan: UAVs, not drones. We’re not doing drones.

Mike Horton: Oh, whatever.

Jeff Foster: It’s really interesting to see the growth of this industry and the acceptance of it and also the ignorance in it too. People come up to you and say, “Are you spying on people with that?” I say, “Well, no, I really can’t spy on it with a GoPro. To see inside your bedroom, I’d have to be flying inside your bedroom.” You know, there’s really no spying going on there.

Larry Jordan: Jeff, tell us about this workshop that you’re taking all the gear for. What are you talking about with aerial film making?

Jeff Foster: Well, we’re actually doing a hands-on field trip on Sunday. That’s all sold out, that’s through the conference, and we’re going up to Nelson, Nevada. It’s a little ghost town set up that Hollywood shoots a lot of films at and we’re going out there. I’m going to be one of several instructors or demonstrators out there.

Jeff Foster: We’ve got some guys from UVF, which is a training company. They’re going to be doing hands on with people, letting everybody have a chance to fly for the first time or to teach them how to better fly their own craft. I’m going to be demonstrating a lot of the quad ‘copters and the different types of cinematic moves you can make with them, and then we’ve got a couple of guys from DSLR Pro who are going to be flying a couple of the bigger craft and show some more advance maneuvers and I’ve hopefully got my buddy… coming out with me and he might be demonstrating the new F1000 and that’s a big octo ‘copter so that’s going to be a lot of fun as well.

Larry Jordan: It sounds like a lot of fun, just to be able to play with these. It’s a cross between a toy and a tool, which is probably the most fun part of it.

Jeff Foster: Yes, it is.

Larry Jordan: And being able to take pictures that you just couldn’t get without spending tens of thousands of dollars on a helicopter.

Mike Horton: We all did it with little model airplanes and radio controlled models. I can’t wait to handle one of these things.

Larry Jordan: Do you need to have two operators, one to run the camera and one to run the flying thingy?

Jeff Foster: Only the advanced systems. The big octo ‘copters with 360 degree movement on the gimbal, it’s best to have two people control those.

Larry Jordan: All right, well, for some reason our music has decided to play. Jeff, are you still with us?

Jeff Foster: Yes, but I can’t hear you over the music.

Larry Jordan: Yes, I know, and I haven’t even turned the music on. Let’s hit the magic button there.

Mike Horton: It’s crazy. Here we go.

Larry Jordan: Now, Jeff, what website can people go to to learn more about what you’re doing?

Jeff Foster: You can find out about all my field trips and workshops and everything at my website, which is pixelpainter.com.

Larry Jordan: That’s pixelpainter.com and Jeff Foster runs Pixel Painter. Jeff, thanks for joining us today.

Jeff Foster: Thanks a lot.

Mike Horton: Thanks Jeff.

Larry Jordan: Bye bye.

Jeff Foster: See you in Vegas.

Mike Horton: See you this weekend.

Larry Jordan: Absolutely.

Larry Jordan: Micki Krimmel is the General Manager of The Creative District. This is a new web-based professional network for film and media makers to collaborate. Hello, Micki.

Micki Krimmel: Hi, thanks for having me.

Mike Horton: HI, Micki.

Larry Jordan: We are delighted to have you here. Tell us, what is The Creative District?

Micki Krimmel: We are a brand new website, social networking platform to help film makers and other creatives expand their professional network, find direct collaborators to help them complete their projects and then also grow their network and manage it as their career progresses.

Larry Jordan: Why? I mean, why start it?

Micki Krimmel: Well, this actually started inside of Technicolor, which I’m sure you’re familiar with the brand. It’s a company that’s been supporting film makers for 100 years now with technology and so they started exploring what they could do with new technology to kind of address this new market of film makers that are using the web and using new tools and making web series and these types of creators.

Micki Krimmel: Basically, they brought me in to be a part of this research process and we discovered that film makers have two big needs. One is funding, obviously, and there’s tons of innovation happening there as far as Kickstarter and Indiegogo… and then the other piece that we kept hearing from film makers is this need to find the right collaborator and to sort of build this professional network to help you do film making more professionally and not just as a hobby.

Micki Krimmel: So, as we dug deeper into that, we realized that those relationships are really the foundation of the whole industry and relationships are what enable you to go from a hobbyist to a professional, no matter what creative field you’re in. So that’s the challenge we’re addressing with Creative District, is really building a network that gives people the tools to showcase their work with robust projects, be it video, photos, text, and also the ability to have a deep social network that shows what people have done in the past and who they’re connected with.

Larry Jordan: Have you got a target market in mind of who should attend the site? Clearly, you want everyone, but who are you gearing it to?

Micki Krimmel: We really want to grow it into a network that works for creators from film students all the way up to more professional film makers and kind of help build those mentorship relationships between the levels as well. But initially, we’re really focused on the indie creator. We have now over 7,000 users who have already signed up. We just launched our public beta last Wednesday so…

Larry Jordan: Wow, congratulations.

Micki Krimmel: Yes, thanks. Yes, it’s really going much better than we even had hoped and it does seem like most of our first creators are early indies and people that are getting maybe their first or second film. A few are more established web creators and now we’re really going to start doing a deeper push into local film schools in LA, because we think we can be a really useful platform for them as well, particularly as they’re just beginning to build their professional network because we kind of want to see how that expands as those creators progress.

Larry Jordan: Well, that would explain why the video on your website talks about a first time director suddenly getting the resources they need and becoming a mentor for other first time directors.

Micki Krimmel: Yes, I mean, that’s the vision, is that we can kind of help people come in and find the resources they need and connect with the right people and then from project to project your needs change and your network grows and you move up in experience and then you can share those resources with the people that are starting out below you. It’s just a helpful network of collaborators.

Larry Jordan: When a film maker signs up on the site, what should they expect? What should they look for? What kind of resources are already available and what kind of questions can you help them answer?

Micki Krimmel: Well, it’s important to recognize that we’re very much in beta, which means you’ll see new features launched all the time. We believe in launching early and often. That way, we get user feedback that helps guide us to prioritize what to build next. We launched our public beta last Wednesday which enables film makers to create a project for their film and add content to it.

Micki Krimmel: They can also invite their collaborators to the project so they can show off their great time – here’s my director, here’s my DP, these are the actors – and then importantly you can also post an open collaborator position, so you can build this really great project and show why it’s so great and who’s involved and then on that same page list the positions that you’re looking for. That way, when people are looking for work, they have all the information they need to decide whether they want to apply for that particular position.

Micki Krimmel: I think we have 300 open positions already, so you can search those on the site right now.

Mike Horton: Wow.

Micki Krimmel: Yes, yes, and then over the next few weeks, we’ll be adding more features so you can customize your profile a little bit better, any comments you had, we’ll add social features and make it easier to share things, so all that’s coming in the next few weeks.

Mike Horton: That’s really incredible. 7,000 signed up already. I guess Technicolor has a little bit to do with that, with that support, because it’s a wonderful brand.

Micki Krimmel: It does help. Yes, it does help. We kind of first started seeding the brand out there to film makers at Sundance this year in January, so while we were still building the site we realized we should just get out there and talk to our customers and everyone does absolutely recognize and trust the Technicolor brand, so it’s been very helpful for us.

Micki Krimmel: And also just getting out there early and talking to people and getting them signed up ahead of time and building that interest. I mean, it really just proves that there’s a huge need for this.

Mike Horton: Yes, absolutely. It’s a wonderful thing you’re doing.

Larry Jordan: I was on your website and intrigued by a couple of terms. What is Neighbor Goods?

Micki Krimmel: Oh, Neighbor Goods. That’s my former start-up. I have an entrepreneurial and a film background, actually. I went to film school, worked in production and post production for quite a few years. I was actually the third employee at Jeff Skoll’s Participant Media…

Mike Horton: Oh wow.

Micki Krimmel: Yes, so I’ve been really fortunate to have been around the right people working on these cool projects. After that, I founded my first start-up with Neighbor Goods and that is a site that connects people to share physical goods in the local community, so lawnmowers, power drills, that kind of thing, and that site was acquired last year. It’s still going and active and people are using it, but I’ve moved on to Creative District now as my next project.

Larry Jordan: Creative District is so cool because it gives you a chance to build on what the web does best, which is build a sense of community and provide information that’s from a trusted source. These are all wonderful things.

Micki Krimmel: That’s exactly what we’re trying to do and the beauty is we’re sort of following… I think the film community is finally ready for this type of thing. I’ve been sort of at the intersection of film and technology for ten years now. I spoke on a panel at South By South West when I was working at Participant, seven years ago I think, so that was about film makers using technology and building community on the web; and I spoke on the same panel this year.

Larry Jordan: Micki, what website can people go to to learn more?

Mike Horton: Taken a while.

Micki Krimmel: Yes, it has taken a while but they’re ready now. They can to go creativedistrict.com and it’s open to the public, anyone can sign up.

Larry Jordan: That’s creativedistrict.com and Micki Krimmel is the General Manager for Creative District. Micki, thanks for joining us today.

Micki Krimmel: Thank you, it’s been fun. Thanks a lot.

Larry Jordan: Take care. Bye bye.

Mike Horton: Thanks.

Larry Jordan: Jon Carr is the Los Angeles based independent producer who provides full script to screen services, including project management from the initial conception, pre-production, production, post production through delivery. Hello, Jon. Welcome.

Jon Carr: Hey guys. How’s it going?

Larry Jordan: We are still in awe of the films that we were looking at on your website before the show started. Some beautiful, beautiful work there.

Jon Carr: Thank you. Thank you very much.

Larry Jordan: Tell me, what got you started in the industry? You’ve sort of launched in a very interesting direction. What is it that caught your fancy and got you started?

Jon Carr: I was actually working in the corporate world years ago, in another life, and I kind of stumbled upon, I think it was around the time that Apple came out with iMovie and I started to get some tracks in and I hodgepodged together a window system and started playing around with Premiere and shooting DV and have since just kind of expanded my skill set and it’s been a really fun ride. I really have enjoyed dabbling in a lot of things and I often joke with people that I am a jack of all trades but master of none.

Larry Jordan: I want to talk about a bunch of different things with you, but let me lead with this. Now that you’ve been shooting and producing for a while, do you find that you have a specialty or something you especially like doing?

Jon Carr: I would say probably my go to, where I earn the majority of my income, is post production. Yes, I do shooting, I do producing, but I also do a tremendous amount of editing, so I have a lot of corporate clients where I’m working on industrial; I do a lot of editing for commercials or short films, music videos, things like that.

Jon Carr: That’s kind of my go to bread and butter, but I definitely have expanded to shooting a lot more over the last few years and I really feel fortunate because, having that post background, I feel like today, with all of these new cameras that are coming out, all this new technology, everybody’s coming out with a camera that shoots RAW or it shoots in a log format and you really need some knowledge about post production to make those images look really good. They actually don’t look great out of a camera, you definitely have to apply a lot to them to get them looking good, and so having that post background has been really helpful.

Larry Jordan: Well, I want to shift a little bit back in time, about two, maybe three years, to the Vincent Lafore film that you created called Mobius. You got a producer credit for that. Were you involved in the production at all too?

Jon Carr: Yes, yes, it was a pretty cool experience. I work with Vincent quite a lot and so I actually was a co-writer, co-producer and I worked on a lot of the visual effects on that particular film. It was a cool thing, working with Vincent. Canon approached him and said, “Hey, we’ve got this new camera,” it was kind of the follow up to the 5D Mk II and it was a professional camera that they were coming out with, C300, and we had to come up with an idea.

Jon Carr: So a co-worker of mine, Justin Hamilton, we sat down and kind of brainstormed some different ideas and some things that we were into and worked something out and took it to Vince and he said, “You know what? That sounds like it’ll be fine. We’ll go out to the desert and we’ll shoot some stuff,” and so it turned out to be a really amazing experience. There was a huge crew and it got a lot of publicity.

Jon Carr: It was cool too, because the film debuted at Paramount Studios and I think Martin Scorsese was there, I think JJ Abrams was there. There were a lot of really big people there and it was pretty cool to have a film that we worked on and made seen by so many people.

Larry Jordan: It’s an amazing film. It’s called Mobius because you’re seeing the same event happen from two different perspectives at the same time and if you go to Jon’s website, which is joncarrpro.com, you’ll be able to take a look at that, plus some of his other work.

Mike Horton: I actually saw that. It wasn’t at the premiere, but it was at Paramount Studios, in their screening theater there, and it is, especially on the big screen, it’s absolutely gorgeous.

Larry Jordan: It’s lovely. Beautiful pictures.

Jon Carr: Yes, it was certainly a fun project and we definitely had some very talented people involved in it and worked pretty hard on it, but it came out well and it was awesome to go to Paramount and Canon has sent… at NAB over the years and… some good track shots, it was pretty cool.

Larry Jordan: Now, that was shot with a pre-release Canon C300, is that correct?

Jon Carr: Correct, yes.

Larry Jordan: So what did you edit it with?

Jon Carr: I think at the time we were editing, we worked with a talented editor, Vashi Nedomansky, and I think at the time he was using Premiere 5.5, so we had a big Adobe push and the Adobe guys came over and we were all… and I’m sure you guys probably know Mike Cranston, he got us all on board with Premiere and we’ve all kind of been on that ever since.

Larry Jordan: Another thing I saw on your website was time lapse video. Are you still shooting those and what got you interested in that? What I want to do, if you’re still doing it, I want to talk about the tools you use.

Jon Carr: Sure, yes. No… time off. In fact, I can’t really talk about who it was for, but I just shot this crazy time lapse in the desert a couple of weeks ago where I basically got a call, it was kind of a last minute situation and this client called me and said, “We need you to go up to Coyote Creek,” which is halfway between Los Angeles and Las Vegas, “and we need you to do a 20 hour time lapse.” So I set up there and it was really neat because it was a super wide angle lens. What I essentially did was I sat in the middle of a dry lake bed and I pointed the lens straight up and it captured a 360 degree view of everything, so we got stars at night, we got clouds during the day and it was really cool, but there definitely was some hallucinating going on by the end of the 20 hours.

Mike Horton: Bring a jacket.

Jon Carr: Yes. Well, I mean, you know, you’re in the extreme sun during the day and then it’s freezing cold at night and the place was called Coyote Creek, so there were a lot of coyotes yelping and every horror movie that I ever saw kind of played out in my head as I’m sitting there in this complete darkness.

Mike Horton: This is totally irrelevant, but how was the sky there between Los Angeles and Vegas? Is there still a lot of light pollution?

Jon Carr: No, it was pretty dark.

Mike Horton: Oh, good.

Jon Carr: The only… was it was a full moon, so it was surprisingly bright. But yes, I imagine when it’s not a full moon it would be pitch black and it would be beautiful.

Larry Jordan: Now, I’m a little confused here. I thought time lapse, you just sort of push the go button on the camera, it takes a shot every few seconds and you just sort of come back 20 hours later and it’s done. What are you actually doing while the time lapse is ongoing?

Jon Carr: Well, there is certainly a lot of sitting around. During the day, you’re definitely just letting it go and just making sure. This was kind of a high pressure situation and I couldn’t really have a mistake, so it was a one time opportunity and so I had to just make sure that everything, you know, we didn’t have any batteries that ran out or… stopped working, things of that nature. The real challenge is when you’re going from day to night or night to day, basically, and so there’s certainly a technique, because the exposure change and the range between those two is huge, so you really have to make sure you’re there and operating the camera and making sure you take account of that extreme exposure change.

Mike Horton: And does your camera remain stationary or are you actually putting it on a slider and doing all sorts of wonderful things?

Jon Carr: I love to do that and you definitely see all kinds of stuff on Vimeo, dynamic shots where people have sliders. This particular one was stationary, it was on a tripod.

Larry Jordan: Now, is it my imagination? My notes say that you were doing a project for LAX. Is that something you can talk about?

Jon Carr: Sure, yes. Yes, no, that’s wrapped and officially out. That one was a really cool one. It was really challenging. I worked with a company called Moment Factory and Moment Factory is based in Montreal and they do these amazing projects. Think Super Bowl half-time show and they do all kinds of huge visual events type of videos and things like that.

Jon Carr: So Moment Factory reached out to me and they said they liked some of the stuff that I’d shot and they were looking to actually license some of my stuff, because they were doing a huge video installation at the international terminal at LAX.

Larry Jordan: Oh, I’ve seen it. It is spectacular. Arresting. I’ve never seen anything like it.

Jon Carr: Oh, that’s awesome. Yes, it’s really tough. My parents, when they come up to LA, they want to see it. It was like, “Well, you’re going to have to go to Australia or somewhere like that,” it’s really tough to get in there.

Jon Carr: But yes, the particular screen that I worked on, it’s called the storyboarding. It’s 120 feet and they came to me and said, “Hey, we’re going to need all this content to populate this screen. Can we maybe license some of your shots?” and so then I started digging in and saying, “What’s the deliverable?” and they were like, “Well, we really want 5K, we really want slow motion,” and most of my stuff was 1080, so that just wasn’t going to work.

Jon Carr: So we talked about it and we said, “Let’s do this, let’s shoot this. Let’s go out and we’ll shoot some stuff around LA and we’ll make it really nice,” and so I said ok and it wasn’t a huge budget, so I had to do a lot of it myself and so, thinking about it, I needed slow motion and I needed 5K, so I really had to resort to an Epic and so, with an Epic, you can do 5K widescreen at 120 frames a second; and then I also was going to shoot some time lapse, because if you shoot raw time lapse, that will also give you 5K.

Jon Carr: So I used a combination of those two things and on a typical day, I would get up at 4.30, load up a camera bag and it was all kind of predicated on if there were clouds or not, because I had to shoot waves, I had to shoot landscapes, there were two others. There were clouds, landscapes, airport and waves, basically, and so if there were clouds – you guys know, you live in LA, there’s not a lot of cloud… yes?

Jon Carr: So if there were clouds, I would shoot that and if not, I’d go up into the Hollywood Hills, I would go to Malibu, I would go to Santa Monica to shoot waves, and so I tried to shoot everything at magic hour, so I would get sunrise, shoot until about 9.30, come back, transfer all the footage, start to process the time lapse, work throughout the day and then at about 3.30 I would head back out and shoot everything for sunset. That was for about three months and I shot about 24 terabytes of footage.

Larry Jordan: 24 terabytes?

Mike Horton: Wow.

Larry Jordan: It’s nice to plan ahead.

Jon Carr: Yes, for a one man band that’s a pretty decent amount.

Larry Jordan: That’s a very decent amount.

Mike Horton: The big problem with time lapse is always flickers. How do you deal with that? Or are you so good you don’t have to deal with flickers?

Jon Carr: Well, I actually enjoy your webinars and I know you’re having a flicker thing upcoming, but the thing is you’ve got to be careful with lenses that are electronically controlled by the camera because there will be micro adjustments, the camera will kind of click in and do micro adjustments to your aperture and that will cause the flicker.

Jon Carr: A lot of times, people will actually disengage the lens. Once they set up the time lapse, they set their aperture and disengage the lens so it doesn’t really create that flicker. And then another way in post, there’s a ton of de-flicker applications out there. I use a product called… Flicker, which is a really good one, but I know that there’s a bunch of other ones coming out.

Larry Jordan: Yes there are. I remember that Digital Anarchy just released one which is for flicker, and Red Giant’s got one as well. What projects are you working on next? What’s got your fancy caught? You don’t have to give us all the details, but are you doing more time lapse? What other kind of work are you working on?

Jon Carr: This past week, Vince is actually launching a tour where he’s doing some camera motion across the US, and so I was kind of a fire drill, I helped him out a little bit with pulling together a trailer video for that, so that kept me busy; and then the last couple of days, I’ve been prepping for NAB. I’m going to be doing some speaking at NAB for Canon and then from there, I’ve got… commercial that I’m just kind of finishing up in terms of the editing.

Mike Horton: Will you be doing any presentations at the Canon booth?

Jon Carr: Yes, yes, I’ll be at the Canon booth…

Mike Horton: Great, I will watch you.

Jon Carr: …on Monday, Tuesday, Wednesday.

Larry Jordan: Oh, they’ve got you working all three days.

Jon Carr: Yeah, I’ll be talking about C300 post workflow.

Mike Horton: Super.

Larry Jordan: Oh, that’ll be good.

Jon Carr: Yes, so…

Larry Jordan: What video format does the C300 shoot?

Jon Carr: I think it’s XF. I think it’s MXF…

Larry Jordan: Oh, that’s right.

Jon Carr: …file format, so that’s definitely one of the things I’ll be talking about and how Premiere Pro kind of digs into files and makes it a little bit easier to do some of the editing with that file format.

Larry Jordan: Cool. Jon, for people who want to learn more about you and the projects you’re working on, what website can they go to?

Jon Carr: Sure, joncarrpro.com and, like I said, I’ll be at the Canon booth, so if you guys are around, come by and say hello.

Mike Horton: Yes, I’ll see you on Monday.

Larry Jordan: Michael’s got all kinds of money.

Mike Horton: I’ve got nothing but time.

Larry Jordan: He’ll buy lunch.

Jon Carr: I doubt that. I doubt that.

Larry Jordan: Jon, thanks for joining us again.

Jon Carr: I know what it was like at the Supermeet, so I know that you’ll be busy.

Mike Horton: See you, Jon.

Larry Jordan: Take care, talk to you soon. Bye bye. That’s joncarrpro.com.

Mike Horton: He does such good work.

Larry Jordan: The footage on his website is absolutely worth looking at.

Mike Horton: Yes, pretty cool.

Larry Jordan: Anyway, we have got more to come – the ever handsome Philip Hodgetts and Sam Mestman are going to be joining us, talking about what we should expect at NAB. They’re coming up right after this.

Larry Jordan: As Michael climbs down from the table where he was dancing, I’m able to introduce Philip Hodgetts. He’s the CEO of Intelligent Assistance and involved in the technology of virtually every area of digital video. Everything Mike and I know about video, Philip has probably taught us. Hello, Philip, welcome.

Philip Hodgetts: Hello.

Mike Horton: And I’ve forgotten everything.

Larry Jordan: You had trouble learning it in the first place.

Mike Horton: Well, that’s true.

Philip Hodgetts: You don’t need to remember it, it’s on the internet. You can just look it up.

Mike Horton: That’s right.

Larry Jordan: It’s all in Wikipedia and we know that’s accurate. Thinking of people who are accurate, Sam Mestman is the CEO of FCP Works. Hello, Sam.

Sam Mestman: Hey Larry, how are you?

Mike Horton: Hi Sam.

Larry Jordan: We are talking to you. We’re going to start with Philip and then Sam gets to chime in and disagree. Philip, there is a lot going on at NAB this year. What do you expect to see? And, remember, you’ve got to give Sam time to talk.

Philip Hodgetts: Well, I expect to see some fairly mature 4K workflows, 4K acquisition and workflows. I think it’s fait accompli whether it’s necessary, whether it’s the right thing to do or not. It’s now irrelevant because it’s going to be what happens and so it’s get with the program and find out how to make it work for you, preferably without increasing your costs very much, and that’s the amazing thing.

Philip Hodgetts: We went to HD and we went now to Ultra HD 4K without really increasing much on the costs side of the equation.

Mike Horton: Yes, isn’t that amazing?

Philip Hodgetts: Yes.

Larry Jordan: We have our live chat and Grant in the live chat is, shall we say, unimpressed with 4K. He says people talk about 4K, he falls asleep. Sam, do you think 4K actually is the future of cinematography as we know it? Or is it more marketing hype?

Sam Mestman: My point of view on it is what I don’t really understand is kind of what’s so controversial about it, because basically at the end of the day we have the storage that can handle it, we have the throughput coming through, the different connectors that can handle it, so for me the question is why wouldn’t we just do it and work this way?

Philip Hodgetts:

Sam Mestman: Because even if you’re finishing at 1080, for me 4K is for theatrical, so for me it’s about mastering in 4K and then you work your way down according to deliverables, because even as a 4K set, it’s double the 2K, so you’re still working in the same aspect ratios and all you’re doing is at a higher resolution… when they talk about film photography. I guess my question is if we can afford now to work this way, why wouldn’t we?

Larry Jordan: Well, a couple of things. Grant in our live chat is suggesting cost for cameras and screens and machines and storage is one reason; but I have a different one.

Mike Horton: What’s he talking about? It’s all cheap.

Larry Jordan: Well, a 4K monitor is not cheap.

Mike Horton: Oh, you don’t need a 4K monitor. This is acquisition we’re talking about, not distribution.

Larry Jordan: But the question is distribution. If we can’t make money on 4K, Sam, why should we even shoot it? For instance, with the exception of the Sony theaters, all the digital cinema right now is projecting at 2K, except for IMAX. How do we make money on the money that we’re spending to buy additional storage and new cameras?

Sam Mestman: Well, I think the major actual barrier is, believe it or not, on the DFX side at the moment. As soon as that gets cleared up, I think you’re going to see a lot more 4K delivery at higher levels. But within that, I think the other thing is you’re going to start seeing larger monitors within the home, because you don’t really start to see 4K until you hit about 84 inches…

Larry Jordan: There, Michael, that’s my Christmas present.

Mike Horton: 84 inch 4K?

Larry Jordan: 84. Michael’s buying me an 84 inch monitor for my birthday.

Mike Horton: You can already get a 50 inch 4K monitor now from some little tiny island in the South Pacific that manufactures them for under $1,000.

Philip Hodgetts: My counter to the 4K argument, and I fully understand that it’s a fait accompli, that there really isn’t a great deal of argument not to do it, is that why did we go to 4K when in actual fact we’d get more benefit in post production by having better pixels at 2K? You know, if we had 2K 444 throughout the entire signal path of ten bits per pixel minimum, some would argue ten, 12 or 14, then we should have started thinking about 4K. But I think it’s largely being driven by the need to sell more panels by adding to the value chain, rather than about people actually demanding more quality.

Philip Hodgetts: I’m not seeing a lot of people with an 84 inch television in their home. Never say never, but it’s very highly unlikely that I’m ever going to have an 84 inch television in my home.

Mike Horton: That’s because it won’t fit in your apartment anyway.

Philip Hodgetts: Exactly. I’m not the only person in the world living in an apartment.

Larry Jordan: I had a wonderful visit earlier this week with the folks at Dolby as they were rolling out Dolby Vision.

Mike Horton: Now, they’ve got a monitor.

Larry Jordan: And that was a really good exercise, because even if I looked at a 1080 image with higher dynamic range, it looked better than a 4K image without dynamic range, so I think we’re definitely in a horse race between shooting faster frame rates and shooting larger images and shooting with greater dynamic range.

Sam Mestman: Well there, actually, I totally agree with that, to be perfectly honest with you. For me, I’d love to see higher quality and at a higher resolution. I think he’s totally right in the sense that, yes, we should be focus on what’s in the pixel. In a lot of cases, yes, it is a marketing thing and I think that’s a little bit part of the problem. But at the same time, when you really look at the specs in terms of what it would take to do that, that’s on the imaging side and if you can actually achieve that, then you could theoretically be bold.

Larry Jordan: Ok, Sam, I’m going to come back to you. Philip has said that we’re going to be seeing 4K all over the hall. What are you looking forward to seeing at NAB?

Sam Mestman: Oh, what am I expecting to see at NAB?

Larry Jordan: Aside from 4K.

Sam Mestman: You’re going to see a lot of 4K, obviously, but I think also the thing that you’re going to really start to see is a focus on how to deliver online and in the cloud. What I think you’re really going to start to see is how to work – and I think you’re going to see the beginnings of this – of starting to work in the cloud collaboratively in some of these different ways and different ways of delivering online and in some of these other places, because I think that’s in a sense where broadcasting is probably going to start living more and more in the future and I think that’s the big thing that everyone’s trying to figure out – how is content going to be delivered moving forward if it’s not necessarily going to be directly over the cable box?

Mike Horton: Yes, I was looking at my little mobile app of where to go when you go to NAB and what booths to visit and you usually want to look at that three or four days before you get there, and this year for the first time, I think, there are more companies who are dealing with collaborative workflows in the cloud. There you go. Just throwing it out there.

Sam Mestman: It’s so affordable at this point, too, on the storage side. You can get these monstrous stands and… is now free in Mavericks. I mean, it’s something that even smaller companies that couldn’t previously even think about it can now, depending on what your workflow is, you can afford it.

Larry Jordan: Philip, are you expecting a surprise announcement, something coming out of left field that we weren’t expecting? Blackmagic did it last year with their camera, if I remember correctly.

Philip Hodgetts: And the year before with their camera.

Larry Jordan: Sorry, it was two years ago that I was referring to.

Mike Horton: Of course, the joke is right now Blackmagic will announce an 8K camera for $999.

Larry Jordan: But I’m expecting a lot of announcements on storage, because if we don’t have fast storage and deep storage, then we’re going to have a problem and I’m expecting a lot of storage announcements around Thunderbolt 2. Philip, what do you think may come from not necessarily the company, but an announcement?

Philip Hodgetts: The thing that makes it a surprise is that you don’t really see it coming, like Adobe purchased Maximedia. You know, that was completely from left field. Blackmagic doing a camera? Blackmagic isn’t a company that does cameras, so it was out of left field, so I don’t know. I’m curious to see what Avid is going to be announcing with the Avid Everywhere, as to what that initially is going to involve. I think overall we’ll see more people announcing subscription models. Adobe’s subscription model would have to be considered a success with heading for 1.8 million subscribers with a regular monthly income. I have to say, it’s a business model I like.

Larry Jordan: Yes, I live on my subscribers, so I’m a firm believer that it works; and Red Giant with their New Universe is a subscription based cloud.

Philip Hodgetts: Exactly.

Mike Horton: Yes, that’s going to change everything in the… industry.

Larry Jordan: I think subscriptions, if they’re priced right and you’ve got the products to back it up, it’s a huge benefit for people who are living feast and famine as they release and then don’t release again.

Philip Hodgetts: Yes, and I think we’ve seen really good upgrades so far. Adobe have delivered, as promised, regular and consistent upgrades and the announcement this week was more of the same.

Mike Horton: They’re doing well.

Philip Hodgetts: Yes.

Larry Jordan: Sam, are you expecting any surprises?

Sam Mestman: Yes. I couldn’t tell you what, because then it wouldn’t be a surprise, but I think, as always, you’re going to see interesting… probably expect there’s going to be something… everyone’s going to sit and say, “Wow, that makes total sense and I can’t believe how cheap that is.”

Larry Jordan: But it seems to me, I guess what my bigger question is, as I think about this, is this year’s NAB a continuation of things that were started last year? Or is this going to take us in new directions? I’m feeling like the cloud, we’ve been talking about that for a while, that’s a continuation. Camera manufacturers are continuing to release new cameras on an hourly basis, which is driving us all nuts. Storage has got to get faster and got to get bigger, but this is all sort of like a continuation. There’s no big new thing, it seems to me. Is that a true point of view, or do you disagree with that?

Philip Hodgetts: I have to say that I agree. In fact… agree, but… the show now covers such a divergent range of production areas and distribution areas that it’s hard for something to come completely new into that environment that hasn’t been seen before, and if it does it’s going to be in a small ten by ten booth somewhere down the back of one of the south halls.

Larry Jordan: Yes, true. Sam, any last thoughts on what you’re expecting from NAB before we wrap up?

Sam Mestman: Yes. I think actually we have a lot of the technology now that we’ve been waiting for and I think now is the time where I think you’re going to see manufacturers really start to implement those; and I think you’re going to see actual workflow start developing. For instance, with Lumberjack, there’s this metadata thing that we’ve been talking about forever. I think it’s now going to start becoming mature and I think people are going to start grasping these concepts now that the hardware and some of these other things are now probably further than where the software is in some cases.

Philip Hodgetts: It’ll be the year of the GPU and the second GPU. Everybody will be announcing GPU support for everything. GPU! GPU!

Larry Jordan: That’s not necessarily a bad thing.

Philip Hodgetts: Oh, I think it’s a great thing. If people actually start to write for all this incredible power that’s sitting in our computers mostly unused, that would be a very good thing.

Larry Jordan: I can see it now, it’s going to be the GPU…

Mike Horton: I know, I’ve had three press releases this month with ‘Now with GPU support’.

Philip Hodgetts: Exactly. Get on it, guys.

Larry Jordan: What Philip needs is GPU accelerated metadata. That’s really what I think we…

Mike Horton: There we go. There we go.

Philip Hodgetts: Well, GPU accelerated derivation of metadata, sure. I’d like to see all those facial detection routines running on the GPU, thank you.

Larry Jordan: And, Sam, what website can people go to who want to keep track of the trouble you’re causing? Sorry, of what you’re up to.

Sam Mestman: Oh, am I causing trouble? I hope I’m not causing trouble. We are at fcpworks.com and for anyone going up to NAB, we’re going to be at a suite over at the Wynn and you can get any and all information you need about that over at fcpworks.com and actually Phil and Greg from Intelligent Assistance are going to be joining us, which we’re extremely excited about, so we’re looking forward to really…

Mike Horton: And I’m going to be seeing you on Monday night at your little event there at the suite.

Sam Mestman: Fantastic…

Mike Horton: Yes, absolutely. I mean, I have to go, I’ve got to see what’s going on.

Larry Jordan: Sam, I wish you great success with the suite at the Wynn; and Philip, for people who want to keep track of you, what website should they go visit?

Philip Hodgetts: Intelligentassistance.com or my new link to my personal website is actually metadata.guru

Mike Horton: Oh no, you’ve got another website?

Larry Jordan: Oh!

Philip Hodgetts: Metadata.guru will take you to philiphodgetts.com, but yes, I grabbed the .guru domain.

Mike Horton: Oh my God.

Philip Hodgetts: I finally am the metadata guru.

Mike Horton: Is there really a guru domain now?

Larry Jordan: Yes, there is.

Philip Hodgetts: Yes there is.

Mike Horton: Oh my God.

Larry Jordan: My ego was not allowing me to go for it so, Philip, you have…

Mike Horton: Oh man, it would be better than .biz.

Larry Jordan: Sam Mestman is the CEO of fcpworks.com and Philip Hodgetts the CEO of Intelligent Assistance. Gentlemen, thanks so much for joining us. We’ll see you next week at NAB.

Sam Mestman: Thanks so much, Larry.

Mike Horton: See you guys.

Larry Jordan: Take care. Bye bye.

Philip Hodgetts: Bye.

Larry Jordan: You know, Michael, this is my favorite time of year as we get ourselves ready to go to NAB. It is my favorite toy story.

Mike Horton: Really my favorite time of year is Christmas.

Larry Jordan: That and viewing elephant seals as you come back from…

Mike Horton: And elephant seals, yes. No, what’s fun about it is you get to see old friends and that’s what these little kind of trade shows are about, for me anyway.

Larry Jordan: Old friends and new products and blinking lights. If it wasn’t for blinking lights, I would not be happy, but…

Mike Horton: And lots of people yelling and talking loud.

Larry Jordan: Is there anything going on in the evening that people should know about?

Mike Horton: Oh yes. On Tuesday night, we have this little thing called the Supermeet and technically, Larry, we are sold out.

Larry Jordan: No way!

Mike Horton: However, we have been working closely…

Larry Jordan: No, wait, wait, wait. Sold out?

Mike Horton: Yes we are, really, seriously. We are working with the hotel closely to add more seats and we added more seats today, so I’m looking up on the web right now, there’s 31 seats left and we’ll again work closely with the hotel to see if we can add more seats, because it is a community event. We hate turning people away, so we’ll see, but if you want a ticket to the Supermeet, you’d better get it now.

Larry Jordan: So the 17 buses of tourists that I’m bringing may not be…

Mike Horton: That isn’t going to work. You’ll have to leave them at the quad… which used to be the Imperial Palace, by the way. They’ll love it. They’ll love it.

Larry Jordan: What hotel are you at, by the way?

Mike Horton: We’re at the Riviera Hotel, April 8th. Doors open at 4.30pm.

Larry Jordan: Well, why should anybody show up early?

Mike Horton: Because, well, oh, there’s a good reason.

Larry Jordan: I know, that’s why I’m asking.

Mike Horton: You are eligible, the first 500 people through the door are eligible to win a $14,000 prize package from HP and NVIDIA. That’s a fully loaded HP workstation, a 27 inch Dreamcolor monitor and a K6000 NVIDIA graphics card. You talk about GPU, this thing is that thick. You can’t see it on the radio, but I’m holding my arms out about that wide.

Larry Jordan: About four and a half feet.

Mike Horton: It’s about four and a half feet thick.

Larry Jordan: Wow. It’s going to be fun.

Mike Horton: Takes up seven slots in your HP workstation.

Larry Jordan: If you get a chance, visit what website, Michael, to learn more?

Mike Horton: Supermeet.com.

Larry Jordan: And if you don’t have time to go to NAB, do take a listen to what we’re doing here at The Buzz, starting with Monday’s show, at nabshowbuzz.com. We’re going to be broadcasting live starting at 10.30 in the morning. We’ve got two live shows every day and our show every evening that’s going to have all the movers and shakers, industry leaders and the latest announcements from NAB so you can see exactly what the new products are and hear both new and old voices. It’s going to be a fun time.

Larry Jordan: I want to thank this week’s guests – Jeff Foster, the author and producer; Micki Krimmel, General Manager of The Creative District; Jon Carr, Creative Director at Jon Carr Productions; and Philip Hodgetts and Sam Mestman. Philip is the CEO of Intelligent Assistance and Sam CEO of FPCWorks.

Larry Jordan: There’s a lot happening at The Buzz between shows. Visit digitalproductionbuzz.com and make sure to sign up for our free weekly newsletter which gives you all the inside insight that you need on our industry. Visit with us on Twitter, @dpbuzz, and Facebook, at digitalproductionbuzz.com.

Larry Jordan: Music on The Buzz is provided by SmartSound. The Buzz is streamed by wehostmacs.com. Text transcripts provided by Take 1 Transcription. A reminder again, join us at nabshowbuzz.com for all of our NAB coverage. Our producer is Cirina Catania. We’ve had a tag team of engineers tonight – Adrian Price and Tori Hoefke and on behalf of Mike Horton, my name is Larry Jordan and thanks for listening to The Digital Production Buzz.

Voiceover: This Digital Production Buzz was brought to you by Blackmagic Design, creators of the world’s highest quality solutions for the feature film, post production and television broadcast industries.

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