sirius thoughts

We had the fortunate crossing of paths with David Pescovitz while enjoying watching Tartufi at a Rock Make street festival. And this is not the first time David, Stacey and I were staring at Brian Gorman making chit chat. The difference, we had shot a PR photo set for Tartufi that were gracing postcards prominently displayed on the merch table. It came up that we had shot the photos, and we naturally asked about David’s BoingBoing t-shirt. Bob’s you uncle and our photo illustrative narrative style is making an appearance on his culture blog. David was kind enough to send us a link when it posted, and then I checked our web stats … kaplooey!

This was the synergy of a number of professional efforts that we had been undertaking. It was a natural starting point for us to leverage all of our talent assets and resources to develop a photo style that mixes reality, sets, photo manipulation, lighting and direction. And I believe we made the right choice to pursue a content/creative style that came from our heart (ours being twisted and darkly funny hearts). Not the kind of work you find in the largest amount in San Francisco where you mostly see commercial-lifestyle-best-douche-ever photography. But I think we’ve always felt enough confidence and bond to the work to believe that if we do a good enough job, there’s stuff our there just perfect for us.

So this is certainly the largest traffic push we’ve had come through (except maybe a weird Vimeo thing I just discovered). And we’ve been fortunate enough to be included in a couple other marketing pushes that I can expand upon later (after publishing of course). But until then, we’ll keep doing what we like doing and hopefully more people will keep liking that.

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A little bit ago it certainly was hard to dodge all the news about Apple’s forthcoming iPad. And I was tuned in to it fairly heavily as I could see how the media was ready to embrace a new possible outlet for their relevancy while others were spiraling down the drain. (I remember being offered a newspaper job in 1999 that was almost too good to be true, mainly because they wanted me to help usher them into the digital era. I of course saw no future in it past me being the “Quark Guy.” So I jumped ship and got into streaming media … yeah I digress.) So here we are some 10 years later and while there is a place evolving for my old position, this new platform is solving a problem I’m having right now.

As we’ve made our headway into still photography as a medium, we recognize our intrinsic value of actually knowing how to do motion work while a number of photogs are trying to make heads or tails of it. And the agency side is muddying the waters as they figure out who’s going to work for who. In the meantime, if I walk into a portfolio review with just a printed version I’ll only be pitching a portion of our program. Enter the iPad.

Stacey and I were discussing the launch date one night, and weighing the pros and cons. What was it, who will use it, will it stick. As she was a proud newton owner (I could only lust for one), she knew the value of a smartly-designed handheld input device. But initially we didn’t think it was for us – yet. We saw a future with one or two hanging around with perhaps a little extra income. But after a little bit of analysis we hit on our sweet spot. The ability to show both beautifully reproduced still images and video on a smartly designed presentation for portfolio reviews. One cheap enough that we could arguably leave it behind and then have returned to us. I quickly found myself opening weekend at the Apple store picking one up before they became scarce.

Now that we’ve sipped the kool-aid, we are using it as fully as possible. A quick check of email in the morning while trying to assemble Ozi off to school. Sharing a couple of movies with the kiddo while killing some time. Not having to find a power outlet while waiting for class to get out or he takes a romp about a playground. Observing as the industry tries awkwardly to adopt a new platform by incorporating video and motion graphics. And setting up a portfolio presentation that shows we know enough to help guide a traditionally print medium into a rich experience (so it’s not so awkward).

And the sweet part is that the presentation is delicious. It’s a good size compromise for looking at both still and motion work. I did a new pass on our motion work with the Apple TV settings and the results are just nice. Of course, everything always looks best when big — but this is the right tool to address this audience of one. Now someone has to write the perfect portfolio review app that handles images and motion and we’re good to go.

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Stacey and I hosted an APA SF Motion event at the studio the other night. And they had me sit on the panel to help explore the difference between the still and motion worlds. Moderated by local (and outstanding) ouside clicker Martin Sundberg and providing yin to my yang Portland shooter Andy Batt pushing the boundaries of motion. We all did a little show and tell and then dove in to the pointed questions of the topic.

The walkaway I understood was that there are different levels and types of video production. Some that photogs are used to, that require smaller crews and are more nimble. Others are larger undertakings that DPs are used to where it takes a small army. More over, motion guys have had to work large and small and understand the crew and approach depend largely upon budget, location, scheduling whatever. When possible, you put the right guy on the job so you can focus on the larger equation (they keep their eye on the minutia). Or another way to look at it: just as you choose the right tool for the job, you also choose the right crew for the job.

I see a Photographer as a production company, and as a result they can easily take on video jobs, provided they know how to scale to a project. The photog has been acting as a producer, director and cinematographer, sometimes as gaffer and (photo) editor, the list goes on. Smaller projects will require little flexing, some simple, non-scripted run and gun. But if you start to apply a narrative in most senses, you begin to need control. Angles should match, sound plays a huge role and they must consider film language, editing and other post workflows.

I think the happy ground, especially in my concern, is not that photographers will be taking over motion production, but rather facilitating it. For someone like me who directs and/or shoots I can find a compatible interface and I speak the language. And let’s say that the job grows bigger and needs a soup to nuts type of treatment. We can help support and work with the photographer to handle the whole motion side of the equation and still work it through their umbrella so they interface with the clients. This is just some of the benefits of having helmed our own productions already. And for the ethics question, I can point to the studio business, that a number of the rental clients are friends who bring their clients in to shoot. if I were to start hitting up every production that comes in, I would quickly gain a bad rep, lose a lot of friends, and ultimately lose a ton of business. So I see a good vision of the future … now I have to do the work to manifest it.

And there were some points / jokes lost on the crowd, like this one for instance. As Andy had learned from his efforts into the moving world, you have to have that b-roll.

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we have a great couple of weeks coming up at the studio with some interesting projects. it seems our studio opening coincided with the upswing in the industry – bully for us. and we are taking on more commercial projects in a deeper level before matching our efforts in our narrative work. the fusion of print and motion has let us find a great home for our personal work. and we are starting to get interesting requests from the community at large to do bold and dramatic projects. I’ll post some specifics later but coolness abounds (always have to check with all parties before getting too vocal). on top of all that the studio is starting to take on a life of it’s own and making its own thumbprints on the local community. initial response has been extremely positive.

we’ve started to get our promo plan in swing getting our unique brand of work out. cause now more than ever it’s time to go big.

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I jetted down to CineGear this year to see what was going on and talk to folks about outfitting out studio space. I took a look at the various power distribution systems and of course handled the grip gear. It was interested to get an idea of the various components, but ultimately I didn’t walk away with certainty.

Ultimately, it’s up to us to listen to our gut and make the decisions and go forward (basic business stuff). But it looks like our time frame has moved up (not back) and we may get into the studio in early August! A review of the schedule with Chris today put us on the fast track (time for hard and fast decisions).

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Thursday saw Mark and I (and a tiny entourage) head down to the Santa Cruz Film Festival for our screening of DIF. This has been an interesting time to feel the impressions of the environment (read economy et. al). This was the first public viewing of the final version of the film. The latest updates include the indictment for al Bashir and his repercussions. This version is also being pressed to DVD shortly by DER and is available to order on our DER Page.

Mark and I cruised over and grabbed a burger at SC haunt Jacks … an experience in itself, but certainly not the burger that I was looking for. Not that it was bad, but it’s a beach burger, a slider, and I was after the thick and juicy type. Next time …

The festival staff was quite gracious and very interested in seeing our future work. It’s nice when people genuinely engage with you on that level after seeing your film. On the festival circuit, there are so many films that it is hard to make inroads. It seems you have to first make an impression (either personally or via a PR machine) before someone will schedule you in. The response after you’re afforded such an opportunity I find a good barometer for the merits of your film. You always have to weigh that in context of the viewer and situation, but it’s certainly informative.

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Mark has been busy continuing to share the film and his experiences with groups and schools across the country. And coming up on May 14th at 2pm the film will screen as part of the Santa Cruz Film Festival at the Regal Cinema. Unfortunately Mark will be in Brazil speaking on a panel supporting our communication efforts. I’ll be in attendance and will be happy to answer any questions about the film and related topics. If you’re in the neighborhood and haven’t seen the film, this is a great opportunity to catch the latest version just updated with the information about al-Bashir’s arrest warrant. I hope to see you there and please introduce yourself. I’ll be sure to stick around if the festival has to boot us out before all questions are addressed.

In other news, we’re checking out the proof copy of the DVD for the release through DER. They’re starting to put the page up to make it available. We’ll let you know when it is live and ready. Please pass the word along to your family and friends and have them share the film with people they know. We’ll make it available through our website and Facebook page where you can become a fan and receive other updates.

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We’ve been clearing out the studio for the past week (and this week to come) in preparation for the grand remodel. Soon the walls will come down, the floor will come up and basic chaos will ensue. Slowly from there, order will replace chaos, walls will return, power will surge, paint will dry and we’ll be in full swing.

Our first project is already booked up, so we best get busy. The San Francisco Film Society will be hosting a class or two in our joint. Most appropriately, the Advance Lighting Class taught by Joe Mendoza of Little Giant Lighting & Grip fame. Should be good to kick the tires.

Meanwhile, we’re looking forward to a little post-production time to wrap up some of the projects we’ve ushered through while the studio was a bare shell. Photos and videos and creativity, oh my! Too much fun really.

Lastly … thankfully, it’s BBQ season once again! I’ve been just killing it lately. I’m looking forward to getting it going full tilt. Plus when the studio opens, it’s the perfect excuse to have a summer open and close BBQ. (I need to make sure they run a gas line out by the door! … I know, I know … but they’re just so easy!)

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It’s been a busy couple of weeks at the ranch. Swooped in from Sundance to take care of a couple of gigs going through the studio. Finished prepping and then shot THE APPRAISAL by Stephanie Carwin. Have just set up casting for a video / photo shoot I’m planning in a week and a half. Found out our Doritos spot didn’t win a million bucks (one nut shot short), but the Bud DD spot did win over at poptent (yeah!). In the meantime, finally settled on the tattoo for my left arm and inked in the outline and some shading.

All of these need more explaining on their own … when’s that gonna happen. Cutting and coloring first.

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So it was cool to jet off at the last second and catch some films and rub elbows in Park City. I didn’t see as much as I would have liked, but I did feel like I was able to chat with a good amount of people. I was surprised at how many people I ran into from the Bay Area … and I know there were a ton more hanging around.

One of the best parts of the trip was seeing Cory MacAbee’s new series Stingray Sam. His team always pulls together quite the show. And the craft with which they do their job is always worthy of admiration. Pulling off a stylized cowboy space musical is already a significant task … but to do it with style, humor and a message takes talent. I look forward to sharing it when it comes out.

Cory at Stingray Sam Q&A

Mark, Ryan and I had a good time talking cinema with old and new friends. Probably more so as Sundance was a veritable ghost town … with most who could travel at the inauguration (as Ozi would say “Go-Bama!”) and the rest stuck at home suffering the economy. So there was no pushing through crowds (although most films were still sold out) and just a smattering of party boys and girls.

The word from the PCFMF was our film did well and the festival staff felt they the film really informed them to what was going on. Unfortunately none of us were there to usher it or field any questions from the audience. But at the least we were heard.

Mark and Jason on Main St.

I was happy to be able to go as a number of friends had films there this year. Running into them and supporting their experiences gave a good insight to the festival. I’m understanding more and more (and this is more true as the landscape evolves) that while film festivals are not the critical point for a film, they are important things to participate in and can help push a film along. It’s a combination of the invitation to participate and the potential collaboration with fellow filmmakers that is a real value. The chance to poke our heads out of the cave and see those who do what we do so that we might do it on a grander scale. And at least when I broke my Sundance cherry, she was (relatively) gentle.

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