R|com Creative Blog

Jessica Sanders "make.believe" commercial was shown all over CES

The new year began well enough, with a trip to Las Vegas to work for both clients and our own technology interests at the International Consumer Electronics Show (CES). It was a nice change from recent shows, with lots of positive energy, not to mention a wealth of new and exciting technology. In a time when people are out of work, tempers are on edge, and people are distrustful of almost everything, it was really nice to speak to so many upbeat people, see so many fun, new products, and in general, to start the year off on a great note.

From a techie perspective, there was a lot to like. Let’s touch on a few of the more memorable things. Sharp’s QuadPixel technology was really terrific to see. Bright and even perhaps overly colorful, there are a ton of possible applications. The LG OLED television was similar in terms of being both impressive and perhaps too colorful. Images tended to look like they were painted on the screen. Nobody every looked that bright in real life – but it looks cool!

On the phone front, the appearance of the Android operating system (based on Linux) in phones from Motorola (like the Backflip) and others was really great to see. On the other side of the coin, I would say that Palm is dead, but perhaps still staggering along. It’s odd that so many former Apple execs are at Palm, and the company is to totally out of the mix moving forward. Oh, well!

There were “tablet” computers everywhere, from HP, Lenova, ICD, Dell and others. Essentially, they’re all laptops without the folding case. With a touch screen and fast display refresh, some are interesting to see, but I think the thing that’s missing is that each of these new boxes seem to be focused on the hardware specs, rather than the user experience. It will be interesting to see what Apple comes up with later in the month, when they are expected to introduce a similar type of device.

Lots of manufacturers were showing off 3D television. Panasonic had a 152-inch (yup!) plasma 3D television. It was a movie theater screen – but sharper. I don’t know how any of us feel about 3D, as you need two eyes for it to work and everyone must wear those silly glasses.

On a related note, Panasonic was showing off a prototype of a prosumer 3D HD video camera, and that was freakin’ awesome. If 3D is gonna be a big hit, producing shows must be simple and straight-forward.

There was lame stuff too…

Intel was showing off a medical monitoring system that permits patients to be linked to their physician via a secure link. The doc sees his patients daily health stats in a sort of triage view (red, yellow, green). It isn’t web enables, is expensive, and is just, well… so 1995. The concept is awesome and powerful, but isn’t not what the world is doing now… Docs want to see this type of data on their mobile device, and they want to be able to click and point and adjust appointments, meds, etc. Relying on a dedicated piece of hardware and software is… well, I already said it.

The folks at Visteon are still in business, but their technology is two years old – they showed off the same stuff we collaborated with them on more than a year ago. No doubt they have new things in the pipeline, but it wasn’t obvious at the CES. We wish them all well, however!

The BING section of the Microsoft booth was nearly always empty. The BING exterior display and transport stage was always empty.

If you haven’t been to one of these shows before, they’re beyond what anyone can take in during a single visit or even over four days. There are the main show floors, where you can take in Microsoft, Intel, Panasonic, Sony, etc. Adjacent to the main floorspace, there is an auto pavilion, which was also filled with iPhone and related solutions – including a projector for your iPhone. Actually, we saw three examples of the iPhone projection hype, and they all suck. Keep pushing though, as the idea is a good one (unless the new Apple iSlate or whatever is better).

At the Venetian Hotel, the top floors are jammed with audio manufacturers. Each one rents a suite and inside, they show off their speakers, mono amplifiers, DVD players and even, um… turntables. That’s right – vinyl is back. It sounds great, but the turntables cost what a laptop does – a good one! So, walking these floors is kind of odd – lots of geeks and people who like to sit alone in their “audio rooms” and so on. We did get to check out lots of hot audio, however.

For us, the coolest thing we saw at the show was in the Sony booth. First, they offered a glimpse at the consumer version of their new AVCHD HD video camera. It rocks the planet. Our team will certainly use the the new professional version. Just going through the paces with the prototype was worth the trip.

The second thing we saw that we loved was a Sony feature on its new marketing endeavor. Called make.believe, it features a series of creative film directors, including my half-sister, Jessica Sanders. Her commercial spot is really fantastic and was a huge hit at the show.

There was other stuff that made Vegas fun…

First of all, if you haven’t been to the new City Center, stop everything and check it out. It’s freakin’ amazing. There are so many interesting angles, fresh oranges in the walkways, amazing shops, and a really fun atmosphere. It’s crazy, just like everything in Vegas, but it is really worth a look.

City Center is the most expensive private real estate venture in the U.S.A.

And not only is City Center cool, the new Aria Hotel and Casino is just about the coolest hotel (except for the Four Seasons!) you’ll find anywhere in a big city. It’s totally hip, has a great waterfall, water “fireworks” and the best restaurants anywhere in town. When there, you must try out Julian Serrano, one of the most remarkable places to enjoy some wine, good friends (thanks Ronnie V and Melissa) and great food.  In addition to the Aria, the new vDara Hotel is also pretty cool.

The folks at Kinoma are doing well, and it was a blast to share a great dinner with Mitchell Weinstock, an old and dear friend who runs BizDev for the Kinoma clan.

The Golden Nuggett opened their new Rush Tower and it’s fantastic – really nice. If you’re headed to Vegas for any reason, it’s worth checking out.

So, the year started out well in Vegas. There is new techie stuff coming, and people seem to be eager for optimism. It will take some real energy, including new jobs to make a difference, but the spirit was good! Here’s to a great 2010. Be good to your friends and family.

As 2009 comes to a close, many of us are probably feeling some degree of relief. It has been, by all accounts, a challenging year. I know that our family, friends, and clients have spent considerable time dealing with the stress of economic, military, and other challenges. We all know someone out of work. We have all read about the conflicts that are continuing in multiple arenas. Emotions have been running high – and the challenges we all face, regardless of position or wealth, remain enormous.

This holiday season, our team is focusing on looking forward to a better 2010 for our clients and personal relationships. It is our wish that all of us can collaborate on things that will help us see these challenging times through – and will ultimately lead to a better future for those we love and care for. Regardless of religion, ethnicity, employment or political affiliation, there is plenty of common ground on which we can stand together.

Nearly 100 years ago, the world was at war. In 1914, the British and French were engaged in what would soon be outdated combat with the German army. The loss of life was beyond comprehension, and the most tragic battles were still to come. Yet, something remarkable happened at Christmas in 1914.

photo credit: Hulton Archive/Getty Images

In many places, beginning on Christmas Eve, enemies and combatants stopped fighting. It is now historically referred to as, “The Christmas Truce.”

In the Ypres area of Belgium, Germans and British soldiers were hunkered down in trenches just hundreds of feet from one another. During the early evening, Germans began decorating their trenches. They put candles in trees and began singing Christmas carols. As their voices carried across the battlefield, the British were amazed to hear “Still Nacht” (Silent Night). The British responded with their own rendition of the much-loved song.

Singing escalated into holiday greetings shouted across the “no man’s land” of the battlefield. And shortly thereafter, soldiers from both sides climbed out of their trenches, walked exposed and without shelter into the night and began to greet their “enemies” with handshakes and in fact, gifts. Whiskey, bread, jam, chocolate and cigars were traded, along with more song.

The truce spread along the lines. Wounded soldiers left on the battlefield earlier in the day were rescued and removed to have their wounds treated. And the dead were buried. Proper burials for soldiers on both sides were performed, and both sides stood, side by side, to pay their respects.

It has been reported that on that Christmas day – December the Twenty Fifth, Nineteen Hundred and Fourteen, instead of firing bullets and shells at one another, the British and Germans played football. Apparently, there were many matches played all along the lines, and more food, song, and drink were shared. So too were addresses, as many soldiers befriended those they were shooting at just days before – and promises were made to visit once the war was over.

Although there is no concrete evidence to support the length of the truce, some written reports indicate the cessation of hostilities lasted until New Year’s Day.

The following year, a similar truce occurred, this time between French and German troops. A repeat of the previous year’s truce took hold in some places, and in fact, through to the end of the war, soldiers collaborated in multiple areas with informal armistice agreements. While the politicians and senior commanders were continuing to plot war, the combatants were plotting peace.

An unknown British soldier wrote home about the truce, and in part, his letter reads:

This will be the most memorable Christmas I’ve ever spent or likely to spend: since about tea time yesterday I don’t think there’s been a shot fired on either side up to now. Last night turned a very clear frost moonlight night, so soon after dusk we had some decent fires going and had a few carols and songs. The Germans commenced by placing lights all along the edge of their trenches and coming over to us, wishing us a Happy Christmas etc. They also gave us a few songs etc. so we had quite a social party. Several of them can speak English very well so we had a few conversations. Some of our chaps went to over to their lines. I think they’ve all come back bar one from ‘E’ Co. They no doubt kept him as a souvenir.

I exchanged one of my balaclavas for a hat. I’ve also got a button off one of their tunics. We also exchanged smokes etc. and had a decent chat. They say they won’t fire tomorrow if we don’t so I suppose we shall get a bit of a holiday… perhaps. After exchanging autographs and them wishing us a Happy New Year we departed and came back and had our dinner.

We can hardly believe that we’ve been firing at them for the last week or two. It all seems so strange. At present its freezing hard and everything is covered with ice…

And so, in this new century, with new challenges and obstacles to overcome, I would like to wish you the happiest of times possible. Reach out and find someone in need of a smile, and share something festive with them. Their smile will certainly be contagious and hopefully we can all enjoy the holidays together. And may 2010 bring you new prosperity, hope, and good health.

Kind regards,
David Barrett & everyone at R|com Creative!

P.S. If the Christmas Truce is of some continuing interest to you, the “Truce” is dramatized in the 2005 French film Joyeux Noël (nominated for “Best Foreign Language Film category at the 78th Academy Awards). The Christmas Truce was also briefly portrayed in Richard Attenborough’s 1969 film Oh What a Lovely War.

A number of books have been written on the Christmas Truce, including Stanley Weintraub ’s Silent Night: The Story of the World War I Christmas Truce, which chronicles the event itself from first hand accounts.

As twilight settles over LA, the Swift Water team from 88s swings into action.

It’s difficult to go anywhere these days without hearing about how the Canon 5dMKII and the 7D are changing the indie film world. And while that’s true, it’s also true that the 7D is a remarkably capable still camera as well.

The Canon 7D represents part of a new arsenal of equipment for our team. We’ve spent the past year evaluating various bits of kit, and with the knowledge that we’d need to use the gear for a wide range of projects, the 7D became a leading contender. The remarkable reviews by noted DP Philip Bloom and some of his amazing 7D videos didn’t hurt either.

Just this past week, on December 7th, while on location in Los Angeles, our LAFD radio crackled with a river rescue assignment. This was a wet week in the City of Angels, and the risk of being swept away was higher than normal (normal is no worries, as the LA River is man-made and is concrete and dry!). Even with rush hour traffic, we were able to safely get on scene within a few minutes. A homeless person, perhaps living in the vegetation in the center of the concrete channel was trapped – not in water, but unable to get off his “island.”

Swift Water Experts from LA, Glendale, and Pasadena rescue a stranded person.

Cameron took the trusty HD video camera and I grabbed the Canon 7D. We’d only taken possession of the camera a few weeks earlier, so this was going to be an interesting assignment. The sun was already down and it was twilight. How would the Canon hold up in extremely low light?

Several things happened: The homeless person was rescued successfully, uninjured, and in need of only fresh clothes (regardless of the weather). And, the Canon 7D really came through. I mean – it was a joy. The viewfinder makes it easy to properly frame images quickly, and the information provided helps me, as a photographer, make decisions about each visual setting prior to exposing a frame (on a CF card, too!). And, finally, every other photog or videographer on scene had a comment to add: “Oh, is that the new Canon? Nice!” Even a river rescue firefighter stopped to say, “I love that camera! Have you seen the HD video that comes out of it?” Um… yes! I shoot HD video with it!

As the rescue was executed, the light of day was gone. Yet, the 7D continues to deliver detailed images with limited noise.

In this case, I was most impressed with the image quality in near black conditions. As night fell, only the jumpy circle of light from a hovering LAFD helicopter lit the area. Overall, it was dark enough to want a flashlight. Yet, the 7D really brought the story to life. See the images attached to this story. No light. Really.

During the coming few weeks, we’ll offer up some field review entries, and hopefully share how the 7D is being integrated into our equipment inventory. Consider this entry to be a bit of rah rah over our delight with this new bit of kit. And if you have a Canon 7D, we’d love to hear from you as well.

NOTE: Our team works closely with the Los Angeles Fire Department, and as such, shooting video at incidents such as this are an ongoing and normal part of our activities.

The introduction this week of the new NXCAM format is really great news for anyone producing a wide array of professional video product, and notably for documentary producers. The camera combines capabilities found in other manufacturer’s (often more expensive) products and the result is a flexible, high-performance full HD camera. When I started blathering on about how thrilled I was that Sony had taken this step, peers and staff asked the same question over and over again – “Why?”

The initial model (unnamed as of this date) in the NXCAM series does a number of really important things: It records AVCHD full HD 1920×1080 material (in all variations of resolutions) and as such, is easily compatible with other cameras, including as one example, the Canon 7D hybrid still/video camera. It utilizes a relatively new type of glass, and although fixed to the camera, this lens, called a G-Lens, delivers excellent optics, no doubt a result of Sony’s purchase of Minolta. And, the camera is ideal for the wide variety of production requirements a documentary requires.

In our situation, we’re interested in the best tool for a variety of situations. That means we’ll shoot portrait interviews, mount a camera on a moving vehicle, hang from a helicopter, and so on. And, if we’re doing all of these things, it also means we’re shooting a lot of material (hours vs. minutes). If you’re making a film, you’ll work from a shot list, and the shooting ratio may be 3:1. In our documentary work, we’re going to capture reality as it occurs, and then weed out the footage that isn’t essential to telling the story. The result is often 30:1 or higher. That’s right, we may shoot 30 hours of video to get a one hour show. In fact, for a documentary we did in Australia that covered two weeks of a cross-country race, we shot more than 100 hours of video. The final product was a broadcast-ready 44 minutes.

The AVCHD format is ideal for this type of work. And, being able to record to a flash drive that mounts into the camera is fantastic. There’s no box attached to a shoe that gets in the way of moving the camera about. It snaps into place. You can record literally hours of material, and then, using USB connectors, transfer the files directly to your PC or Mac.

There’s more to like as well. The imagers in the camera are native 1920 x 1080. The imagers in other cameras in this class are typically 720p and upscale to 1080p. This is really important and becomes even more so when you discover that the camera will output a full HD 4:2:2 signal via the built-in HD-SDI port while shooting. That type of flexibility allows us to integrate this camera with other, far more expensive cameras.

It’s difficult to capture a strong, clear image if you can’t see what you’re doing. The NXCAM shown off by Sony offers a 1.2 million pixel 16×9 display using backlit LED technology. The Panasonic HMC-150, by comparison (same compression system, similar price, etc.) has a display with approximately 210,000 pixels in a 4×3 display that is letter-boxed. What? To use the Panny (which has great images), you really need to add an external monitor, or you’re going to be disappointed with the results. Sony avoids that extra complication. Add-on monitors are terrific if you’re on a tripod and locked off. They don’t work if you’re jumping off a fire engine and following firefighters into a smokey building. Sony resolves that problem with not only the flip-up external monitor, but the built-in viewfinder as well. You can learn more by watching the intro video produced by Sony.

So, as we envision some of the production work we’re scheduled to produce this year, the Sony NXCAM fits in really well. We can shoot portrait interviews using prime glass on our Canon 7D. We can match that (remember, same codec) with footage captured “in the field” with the Sony NXCAM. And, we can edit in both PC and Mac NLE solutions without drama. No tape. No fuss. Oh, by the way – there’s more to like as well. Because we shoot on location, as documentary producers, we are careful to log everything we shoot. Now, with the NXCAM, there is GPS data added to the metadata of each file. Whoo hoo! So, the next time we travel 2,000 miles across the Stewart Highway in Australia, we’ll know where each shot was captured. And, if we decide to shoot in a studio, we can lock multiple NXCAMs together, thanks to the new (if proprietary) timecode in and out connectors.

The only bad news is that the camera isn’t available yet. Hey Sony – want some remarkable footage of firefighters saving lives? How about the California coast and wine country? Or, how about some footage of the latest sports cars being testing on windy country roads at speed? If so, get us an NXCAM ASAP. We aren’t asking for a freebie. We’ll own it. Love it. And we’ll tell the world.

We’ve added a Canon EOS 7D to our production equipment inventory. Already, I’ve found multiple occasions to use it during the first week we’ve had it. It is a fabulous production tool. It also represents a major breakthrough in some respects, but it is not, as some would tell you, a fix-all for video production.

First of all, a few initial comments for anyone not familiar with the Canon EOS 7D, or why we’d write about it. This is a digital SLR (D-SLR) still camera that also happens to record lovely 1080p video images. It is one notch below the Canon 5D MKII, and is competitive with a number of other DSLRs on the market.

As a still camera, it offers a new 18 megapixel sensor, a fantastic three inch viewfinder that displays 100% of the frame (many cameras show 90 or 95% of the frame). It includes a flexible AF system with a dedicated processor for focusing – so it’s fast. The shutter system is also new, permitting an impressive 8 frames per second (in still mode). As with other Canon products, it features the EF / EF-S lens mount system. Sensitivity is also terrific, with Auto ISO (100 – 3200) or manual ISO from 100 – 6400 in 0.3 or 0.5 EV increments. It offers nearly all of the professional features you could imagine for a camera of this type, and a great place to see a review of its still capabilities is at dpreview.

As a video camera, it’s also pretty amazing. It has standard video outputs in both NTSC and PAL, plus HDMI output for HD video. It includes a built-in microphone and has an input for an external mic as well (mini plug). The camera will shoot 1920×1080 at 29.97, 25, or 23fps. It will shoot 1280×720 at 59.94, 50fps or even (but why?) 6340×480 at 59.94, 50fps. It records using H.264 in a QuickTime .Mov wrapper. Note however, that the QuickTime wrapper does not mean any NLE will recognize the footage. More on video reviews in a bit.

There are three ways to use this camera: As a still camera. As a video camera. As a film-style camera.

Image shot with EOS 7D - Battalion Chief Kawai

When using this as a still camera, it’s a joy. Many people wrestle with the Nikon vs. Canon brand issue. In my experience, I see both everywhere. However, it does seem that when you’re a portrait photographer, there are reasons to use Nikon products, and if you’re a journalist or sports photographer, Canon offers some benefits.

This camera is easy to hold. It’s easy to read. The menu system is a snap, and you can pre-set commonly used menu elements. As a result, getting high-quality stills is literally a snap. As a photographer, you can really focus (sorry!) on the image to be captured – framing, lighting, depth, etc. A fantastic review of the camera can be found at Rob Galbraith’s blog. Additional reviews for photographers can be found at Alexa.

As a video camera, this is a bit of a different animal. You can’t (obviously) shoot with a vertical orientation, as you can with stills. The camera is heavy to hold for video motion, and a tripod or camera rig is an absolute requirement over the long term. However, this doesn’t make it unusable in “camera format.” Some things work differently, but it is still quite capable with just Canon lens and related support gear. Simply put, you can point and shoot and get really nice images.

There are some things you can do to improve the immediate video capabilities of the camera. One is to add a proper microphone. Rode makes a stereo mic that mounts to the shoe and plugs into the body. We purchased a Rode with the camera and it has been fantastic. Philip Bloom, the noted British DP has recently produced a really nice video package with the 7D and the Rode mic – right here in California at Venice Beach. It’s a really nice video story and highlights the EOS 7D.

It’s when you think of the 7D as a film camera that it really changes the landscape (again, sorry!) for producers. This is a camera that starts at perhaps $2,000 with a nice lens. You can start to add various bits and pieces to it, including a mic, follow-focus, matte box, remote trigger, etc. Suddenly, it’s a complete motion picture camera rig – for less than $5,000. And the images it creates are full-on cinematic quality – no “cinema mode” crap either. To see a great example of the camera rigged for news video, check out this Matt Jasper 7D video clip.

The difference is the glass. This is a camera that allows total control over the Z-axis as well as the overall frame. As such, you can dial in a lovely depth of field that permits you to shoot video with a realistic, natural, film look. You can add a prime lens to the Canon. In fact, there are a few firms already making PL mount conversions. While that may only be useful to anyone who already owns a suite of PL glass, the knowledge that you can pick a lens for any specific shot is a breakthrough event for most videographers. In fact, if Panavision rented glass without a camera, you could really lose your mind. Check this out.

In my initial shoots with the 7D, I found the camera to be very balanced. The image was crisp and as with any HD camera, the critical issue was and is focus. But the ability to shoot with such a nice depth of field is eye-opening (I’m so sorry!). Even in the first day of shooting, I was thinking, “oh this is sweet!” as I was rolling chip. That’s another thing: no tape. The EOS 7D uses CF cards (UDMA only, type 6 or faster). And with a 32GB card, I can capture more than 80 minutes at the highest resolution.

We have been really busy with production the past few weeks, so publishing our own 7D clips will have to wait for a few weeks. Rest assured, however, that we will publish a variety of 7D clips. We’ll also share opinion regarding the workflow overall and our use with editing software.

In the meanwhile, here are some fantastic examples of the 7D at work:

Canon EOS 7D at 30p – by Philip Bloom

Dublin’s People – by Philip Bloom

Around Rome – by Shawn Landersz

Sony's extraordinary EX3

The DV Expo was really small this year. We ripped through the tiny section of the Pasadena Convention Center set aside for the likes of Panasonic, Sony and JVC, in about three hours, and that included saying hi to nearly every person working every booth. My cranky left knee and I like small shows.

Of course, we’re looking for our next tapeless camera purchase, and it didn’t take long to be neck deep in options. We want something that will shoot a picture that will knock your socks off, we want it to be relatively light weight and tough, we don’t want it to cost too much money and we want the recordable media to be affordable. Also, if it would open the garage door and cook dinner every now and then, we’d like that too.

Sony's EX1 - the travel-sized version of the EX3.

Most expensive on our list are the Sony EX3 and EX1. It’s hard for me to turn my back on a Sony, even when they tell me the media will costs ten billion times what compact flash and SDS cards cost. I’ve fallen asleep with my Sony Z1U cradled in my arms in a tent in the Outback of Australia, on a night train between Hamburg, Germany and Paris, and after a very strange night of drinking some neon green liquor in Lyon, France. It’s been in dozens of fire engines and ambulances with me, not to mention smoke filled houses and burning hillsides. But it’s getting tired. I can’t blame it. And that whole recording to tape nonsense is getting really tired. So soon, I’m going in to have it surgically removed from my right hand.

JVC's HM100U - looks just like a camcorder, only smaller!

Do I want to replace it with another Sony? Yes. Do I want to pay Sony SxS card prices? Um, no. Is the EX1 and the EX3 worth the price? Probably.

But I thought I should look around, and there was something about the GY-HM100U that really drew me over to the JVC booth. I loved the view finder – BIG! I loved the size of the camera – small! I loved that it stored files on the cheapo SDHC memory cards. I loved that the entire XLR shotgun mic assembly (which comes along for no extra charge) popped off with the turn of a nob, making the camera positively minute. I swear that camera could fit into a pocket on my shooters’ vest without the mic. It weighed a little more than the competition across the show floor – the Panasonic AG-HMC40, but it was much smaller, and the view finder was higher resolution and the XLR shotgun mic came with it. I thought this was an awesome, itty, bitty little camera that I could add to our Sony line up, that would be inexpensive enough to abuse and replace as needed.

I expected the price to be right around that of the HMC40 – list $2,295. Then they told me the bad news. The HM100U lists at $3,995. I waited for the guy in the JVC booth to start laughing. Give me an elbow in the ribs and say, just kidding. And I waited a little more. He seemed mesmerized by how my mouth was gaping opened. He seemed disturbed when I finally gathered myself enough to ask “Whaaa?”

Anyway, that happened.

from the Flip website, the Flip Ultra HD, their top-of-the-line camera.

We’ve recently started principal photography on a new documentary called Harmony: The Story of Rock Our World. I could go on and on about how wonderful this program is and how exceptional the teacher is who started it five years ago, but I think it’s probably better if I just let you hear directly from her in this short we produced last spring about the program.

Yeah, she’s amazing, isn’t she?

This production is going to take us around the world interacting with teachers and classrooms that are lucky to have one computer and a dial up connection, let alone high tech digital tools in each students’ hands. However, in order to produce a feature-length documentary about the program, we need each classroom to videotape their Rock Our World efforts. And since we’re making a film in 1080i, it would be really nice if they were videotaping their efforts in HD. Hence, our conundrum. Well, one of our conundrums.

from their website, the Kodak Zi8, which shoots 1080p.

What small camera should we get into the hands of the Rock Our World classes around the world, that’s easy to use, that allows for VERY SIMPLE file upload to iDisks, but that still produces a picture we can use in post production? Oh yeah, and it has to be INCREDIBLY CHEAP.

You’re thinking Flip, aren’t you? We were too. The best Flip out there shoots “Video: 16:9 widescreen, HD 720p (1280 x 720) at 30 frames per second (fps) progressive scan; recorded as MP4 files,” according to their website, and that will work just fine with our production. It won’t be great, since we’re shooting 1080i and the Flip shoots 720p, but I’m willing to convert in Final Cut Pro, even though I rage at the conversion time each time I hit the render button.

But this lovely teacher who runs Rock Our World, told me about the new Kodak competition to the Flip. Have you heard about the Kodak Zi8? It shoots in 1080p and is $20/unit cheaper.

I need to get to a local Best Buy and check these two little darlings out. I also plan to steal Carol Anne’s Kodak and my sister’s Flip at an event in Nebraska the weekend of October 16th. I hope have more for you when I return.

So, this is gonna be “pick on Panasonic” week. My last entry was critical of some old world thinking going on in either Japan, New Jersey, or both places. We’ll turn the page now and talk about a new product that rocks the house. Well, it rocks the house except for its name: The Panasonic AG-HMR-10. Puh-leeze.

This is a remote recorder that can be linked to a small camera (Red Bull Can-Sized) via a long (up to 25 feet) cable. It will record in 720p, 1080p, and all kinds of variations. It is an AVCHD format (meaning AVC/H.264) and as such, is a far more modern codec than the previous compressed versions of HD in the 4:2:0 colorspace. The images are awesome. It records onto a class 6 HDSC memory card, so it’s literally plug-and-play. Beauty.

This is a wonderful recording device for all kinds of interesting situations. In our case, we could mount it in a helicopter cockpit, on the tiller of a hook and ladder fire engine (looking down the ladder), on the windscreen of a (fast) motorcycle, and or, on a custom-designed, aerodynamic solar-powered racing car.

This is forward thinking for Panasonic. The next thing I’ll hear is that the same engineering team came up with this and the unbelievably lame mobile edit box, aptly named the Mobile AVC-Intra/DVCPRO HD/50/25 P2 Recorder AJ-HPM200.

Whenever there is a trade show related to our profession, we attend. Learning and evolving is essential to supporting our clients properly, not to mention staying on the leading (bleeding?) edge so our skill set can continue to produce quality content. The recent DV Expo in Pasadena provided a valuable experience. Smaller than in previous years, but with good exhibitors and a solid audience of professionals, it was a nice balance of products and users.

One of our first stops was the Panasonic stand. We are evaluating new ways to eliminate tape from our workflow, and Panasonic has multiple solutions, including P2 and AVCHD HDSC card-based workflows. That’s good stuff. But, while in the Panny booth, we were asked, “want to check out one of the coolest new products on the planet?” Who could say no? Little did we know that the next ten minutes would see us whisked into the waaaaay back machine.

The new Panasonic AJ-HPM200 is wrong in every way imaginable. First of all, it suffers from the remarkably lame Panasonic product identification process. The next time you want to order a meal, ask for the CB-2WFL (that would mean cheeseburger, cooked medium, with large fries). Why not the P2-Mobile EditStation? Or, perhaps P2-Mobile-Pro? Or… You get the point.

This is a powerful tool. 4:2:2 HD field production editing, all in a compact suitcase-style unit. Tough. Reliable. Can be used with “virtually any camera.”

But, why?

This box is $16,000. What can you buy with $16K these days? Well, let’s see: A laptop with real editing software (this box does cuts-only), connectivity to P2, AVCHD, etc. formats, cards, not to mention mobile storage and high-speed connectivity can easily be had for $5,000. That would leave $11 grand for, um… whatever!

Sure, Fox News can buy these things and stuff them into a Ford Van and call it field news production. But, that’s only if the buyer has had his spine surgically removed. Seriously, if this device was introduced in 1999, it would have set the world on fire. But today?

Panasonic is a huge company. They have some fantastic products. And I’m certain there is some news producer out there who will wet himself when he sees this. But, without a doubt, he’s over 50, doesn’t use Twitter, considers himself hip cus he uses a crackberry, and is not thinking about the big picture. He’s just checking off the boxes on a do-do list.

Well, to be fair, the thing (what’s the model number again?) looks cool.

Burned Hills in the Station Fire

During the past week, the northern end of Los Angeles County has been burning. The Station Fire, which to-date is the biggest wildfire in the history of LA County, has swept from the hillside communities above Pasadena and Duarte into the Angeles National Forest. Unburned for more than 60 years, the thick, deep brush provided ample fuel for a monster fire.

In addition to spending time at base camp working on several assignments, Cameron Barrett shot quite a bit of HD video, and the images will be remarkable. I took a few photographs of aftermath, and even those (you can see a few here) images are striking.

Perhaps the most interesting aspect of this was not the drama of billowing smoke and fire, but the stark emptiness of the “morning after,” so to speak. Hillsides and canyons looked like they had been sculpted by a model railroader, then painted black and some flour dusted here and there to represent ash. And the same image goes on and on – we drove up several canyon roads for mile after mile and the only thing we saw besides burned out hills were smoldering tree stumps, and wisps of smoke drifting up from the rubble that wildfire can create.

Cameron Barrett capturing destroyed home footage

And, several miles up Big Tujunga Canyon, we came across several burned out cottages. As the sun set, the only things left standing were chimneys and black tree trunks. Destroyed cars remained parked in driveways, never to wheel along a highway again. At one home, we found nearly a dozen dead cats – and an angry group of people (ourselves and several network photographers) who couldn’t believe these animals were just left behind. Still, Cameron, who is an animal advocate, captured the scene, all in High-Def.

Another interesting aspect of the aftermath is the sound. It’s really quiet. There are no leaves to rustle in the breeze. No squirrels to scamper through the underbrush. Just dead sound. At least until you hear the rumble of a fire engine, or the thump, thump, thump of a helicopter overhead.

Spot fires continue to threaten the containment lines.

And the fires continue to burn as I type this. Although nearly 50% contained, there is ongoing risk and danger. And thankfully, most residents took the advice of law enforcement and fire officials and evacuated when asked. Two LA County firefighters lost their lives in the midst of this arson-generated wildfire. Perhaps the only good news relates to weather: This fire took place in August, with little or no wind. If the same thing had occurred in November, when the Santa Ana winds sweep through the canyons, it’s really unimaginable to think what might have happened.

As this is part of our job, we’ve become familiar with these types of situations in general. Yet this particular incident will remain etched in our memories for quite awhile. We can only hope it will be at least another 60 years before anything like this happens again – and never would be a much better option.

R|com Creative is working with the Los Angeles Fire Department to create a new series of education materials based around an important initiative called Ready, Set, Go! Essentially, there has been some ongoing debate about the value of staying at your residence, as opposed to evacuating. In Southern California, we live in not only earthquake country, but wildfire country as well. And when they strike, people often prefer to stay and protect their property.

The initiative for not leaving, often referred to as “Stay and Defend,” was gaining ground earlier this year with several departments, as there have been some stories of people who have elected to ignore officials and as a result, participated in saving their structures. It’s important to remember that many homes don’t burn as a result of the fire front in a wildfire. They burn because of spot fires that start as the fire moves through, and without resources to suppress those spot fires, the home burns.

Just as this “Stay and Defend” option began to get people’s attention, Australia suffered through a terrible wildfire incident and many lives were lost. Australia has been known for its serious wildfire devastation, including Hobart in 1967 (1400 homes lost, 62 dead); Victoria in 1983 (2400 homes lost, 71 dead), Canberra in 2003 (500 homes lost, 5 dead), and Victoria in 2009 (3000 homes lost, 173 dead). Many of the victims in the Victoria fires this year elected to stay behind, and then attempted to evacuate, but too late. They were caught on the road and died.

Ready, Set, Go! as an initiative is being supported by a wide array of Southern California emergency services agencies. The Los Angeles Fire Department’s position is clear: If there is a wildfire, prepare your home and family, get set to evacuate if required, and when asked, or even before that, leave the area. Your home can be saved. Once you die, coming back is apparently problematic.

Our program will include a series of components – and it will highlight the use of digital technology and Web 2.0 capabilities. A video/DVD will tell the story of why its important to leave and how to prepare. A brochure will be available to schools, senior centers, council district offices, and LA City Fire Stations. Separately, a digital magazine will be created and it will be available to anyone who is interested in the Ready, Set, Go initiative. And finally, information will be available via the MySafe:LA public education website.

We’re enthused about the project, and once complete, are committed to seeing it reach as many people as possible, so the citizens of Los Angeles can be properly prepared.

Cameron Barrett, James Kwok, and David Barrett on the magic carpet at the All Sports Los Angeles film Festival

When Cameron Barrett learned our documentary film, Continuum, Against All Odds, had been accepted into the All Sports Los Angeles Film Festival, she was so excited. There are a wide array of awards programs these days – so many that they may become all too common and lose their unique value. But, such is not the case with a film festival, and certainly not one that has a niche – in this case, sports.

Typically, we produce films as a team, and in many ways this one was no different. What was different was that Cameron had led her production team to Australia, on her own, and directed this show from start to finish. As such, it had her stamp, her storyline, and her blood and sweat all over it. So, to be accepted into any festival is a good feeling.

Showing up at such events is often overly “Hollywood” for me. I am not easily impressed with the glitter and so on. What made this festival so much fun was that it didn’t have any of that pretentious glitter to it – and it was in Hollywood! The event was held at the Raliegh Studios, next door to Paramount. We invited friends and peers, and it was just what you might expect at such an event – a combination of fun, dialog, and a bit of nervousness.

Our guests were terrific and very supportive. Cameron and I had never seen this particular film on the “big screen,” so it was fun to see it in a theater setting. And when the showing was complete, everyone was very kind, and they left. We took some of our team to dinner.

But we came back…

The evening was filled with other films to see – and Cameron really enjoyed a documentary about women’s six on six basketball, called Iowa Girls. It’s important to know that throughout this entire series of films and activities, Cameron never gave a moment’s thought to actually winning an award. It was enough to be in the competition.

So, when the awards were being handed out, she clapped and cheered for each additional trophy, but never showed any nerves or emotion related to Continuum. Finally, the last two awards were all that remained. Best short doc and best feature doc. Continuum made it into the short category, by perhaps one minute. And, as the award description was being read, Cameron was smiling and saying, “Iowa Girls. Iowa Girls.” I, on the other hand, was thinking of another film. Our film.

And so, when the words, “and the winner is… Continuum, Against All Odds,” were announced, I smiled. And, then, I laughed out loud, as Cameron’s amazed and perplexed expression peered at me with a look that defies description. “Go on! Get up there,” I said, laughing. So, it was fun. And I’m really proud of Cameron. And our Team. And everyone on the solar car team at the University of Michigan. Those guys and girls rock. Big time.

The 30th Annual Telly Awards have been announced and R|com Creative has earned three separate awards in this year’s competition. We are honored that the Telly Awards have seen fit to honor us for our film and video endeavors.

Earthquake 9-1-1 earned awards in the Charitable and Public Safety categories.

Firing Up Our Future, the DVD produced to support the 2008 Greater Alarm Gala for the LAFD Museum and Memorial earned an award for fund-raising.

“These awards are really for our clients, and for our crew, as they are the ones we endeavor to please,” David Barrett, managing director for R|com Creative said. Producer and Director Cameron Barrett added, “we are thrilled that our peers find quality in our work, and adding these new awards to our long list of past achievements is an honor.”

For three decades, the Telly statuette has been a symbol of creative excellence. Each statuette is hand-crafted by the same firm that produces the Oscar® and Emmy® Awards.

This is the final cut for the short film about Carol Anne McGuire and her program of music and education: Rock Our World.

Our team has recently completed production of a short mini-documentary project.  It has been one of the most delightful experiences we’ve had in the production space. The film is called “Harmony” and is about a remarkable teacher, Carol Anne McGuire, and her education program, Rock Our World. This is a “fine cut” of the project – a final cut will be completed shortly.

We first met Carol Anne five years ago. The Apple Distinguished Educator was part of a group of teachers we were videotaping for Apple. When we learned about Carol Anne and her interest in changing the world, we were smitten. At the time, Carol Anne was teaching at a school in Orange County, CA. She had just made a video film, using her students. The film was about themselves. All of the students were (and are) blind. But, that’s Carol Anne for you.

More recently (as discussed in a recent blog entry), Carol Anne has been working with the New Village Leadership Academy in Calabasas. She has been sharing her ongoing core curriculum teaching program that is founded on an international collaboration of music. The program is called “Rock Our World.” It is one of the most amazing methods of delivering education I’ve ever seen.

As Carol says, “when I was a kid, if I wanted to learn about Japan, I’d pick up a book and read it, and that book might have been ten, twenty, or even fifty years old.” Today, when Carol Anne’s students want to know something about Japan, they place a video chat call. Literally. By building musical scores with schools from around the world, and injecting core curriculum (math, science, social studies, etc.), Carol Anne’s children discover a bigger world. And by becoming part of it, they make it theirs – and perhaps a bit smaller, too.

This short video is hopefully a preview of a full-length documentary on the subject. The fine cut process is important, as it gives the filmmakers (us!) the chance to step back from the project for a few days. We can look at the film and evaluate little changes or updates that will help increase the end-result.