tag:blogger.com,1999:blog-10010060626811206872024-02-19T18:55:04.570-08:00GVI’s blogRobert Hauserhttp://www.blogger.com/profile/13471442704725036708noreply@blogger.comBlogger82125tag:blogger.com,1999:blog-1001006062681120687.post-11684267748643380642011-05-12T10:03:00.000-07:002011-05-13T13:43:13.193-07:00Faces of Psychiatry<span class="Apple-style-span">Recently finished four profiles of psychiatrists for the APA. The project was created to show the face of modern psychiatry. No more couches and old white men in beards. In fact, our four psychiatrists included two women and two men. </span><div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMUgGYcsPZ7a7wXqKsMMGuKaubOr5XGKAGRl1s3A2LgQZlvj52MHZp2snl-WbSAjNxh4MqDAvZ-IwofkMnT98n1WxxijcENOpXcaP4ohYWRaYDU7b2JP1dy7NvS7cNUwTqu84Szwgz1iI/s200/Sutton.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 112px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5605887825337622946" /></span></div><div><span class="Apple-style-span">So who were they? The first was the highest ranking psychiatrist in the Armed Services. She helped reorient the military toward addressing brain trauma and issues like PTSD. She also reached out to the NFL and families of troops to address the stigma that prevents people from seeking care. </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvtwpcZ5UibLaOiXk9lJh7R_TqxTnIQtKoUQ9xgyfTZi0_J6Jcev8NPSx1_nnY6fEPyujlozYfdkQxPGw-uLxgZmBmEq2RCW7BenVuLRvcEDlRf8GMgRugOoNqrOkZD5o9-I2N9UU34do/s200/Hind.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 112px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5605888025272723442" /></span></div><div><span class="Apple-style-span">The second psychiatrist mentors Residents and helps run an outpatient clinic. We saw her in action and she tries to give her young doctors new ways of seeing and understanding their patients. </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfaiS8ikNE9ZWu2C-FmM79OA4mXyO80Mz3gQoWFP7HkXdTKuhUXfoErl663P8aKDkzfUkq_1c4XmmPCYnzA6EX3hoJ4K-9vFrNLATeYYWxd5jBWK_dw1JlETfyozoPgLka_rhHOStNiI/s200/lindsey.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 112px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5605888740558170930" /></span></div><div><span class="Apple-style-span">The third, a child psychiatrist, has a private practice and works in a hospital ER. We watched his interaction with "patients" and were struck by his empathy and ability to put people at ease. And he liked being able to help adolescents navigate the often rocky path of moving toward adulthood. </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3muMIUeTmG5l-xC1_7VtbOs_1MVUZnaMaGJNKXo-IYBRqjMBUtINIgF2P0uFyRav-vUkakVGSJOGDpCQUyIe-EsLre67igMWNJub28ZKre33mdejPThSJPqoenXM7s2F6Rr4w2H6nX8I/s200/Compton.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 112px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5605889012179344706" /></span></div><div><span class="Apple-style-span">And the fourth, a research scientist at NIH, has spent his career trying to understand and then combat the stranglehold of addiction. In recent years he's been working on strategies for involving communities to effectively reach out to kids at risk. And they've been having some success. </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">So what have I learned from the experience? </span></div><div><span class="Apple-style-span">The face of modern psychiatry is a rainbow of people and possibilities. </span></div><div><span class="Apple-style-span"><span class="Apple-style-span">That the brain remains one of the most complex and mysterious parts of our bodies, and yet, t</span><span class="Apple-style-span">here are often effective treatments that can make a huge difference in the well-being of patients. </span></span></div><div><span class="Apple-style-span"><span class="Apple-style-span">That there is a great need for the services that psychiatry can offer and yet, a stigma persists against getting treatment. </span></span></div><div><span class="Apple-style-span">That there are many practice options open to psychiatrists, and yet among many policy makers, illness of the brain is still not viewed the same as illness of the heart, liver or lung. </span></div><div><span class="Apple-style-span">That there is great optimism among the psychiatrists we spoke with. </span></div><div><span class="Apple-style-span">And that they find fulfillment and fascination in their work. </span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">In all, an inspiring project. And an excellent example of what I like best about what we do, which is learn about people and practices we would most likely never encounter in the routine of daily life. And also, I got to ask a psychiatrist, "tell me how you feel about that..."</span></div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-7434246454324364172011-02-09T10:32:00.001-08:002011-02-09T11:09:02.768-08:00Printing Press Then and Now<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9JGBP1A8atCwztuP77f2f3W783DTUZSASWekunszJTh3QzcW5noPagp5NP2mDelG5E19j5f3Ryhe5JKBGDbYEnUNNWloXqBZW0AZQpwDaTQ3WASpbeozIiB_IlAwHbMpwXVK4iB9-2gE/s1600/PrintShop3023.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 244px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9JGBP1A8atCwztuP77f2f3W783DTUZSASWekunszJTh3QzcW5noPagp5NP2mDelG5E19j5f3Ryhe5JKBGDbYEnUNNWloXqBZW0AZQpwDaTQ3WASpbeozIiB_IlAwHbMpwXVK4iB9-2gE/s320/PrintShop3023.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5571759654831801378" /></a><span class="Apple-style-span"><span class="Apple-style-span">As part of our series for the <a href="http://www.folger.edu/">Folger Shakespeare Library</a> celebrating the <a href="http://www.folger.edu/wosummary.cfm?woid=660">500th Anniversary</a> of the King James Bible, we did a short video on the printing process. This illustration gives you a good idea of what was involved in a typical print shop back in the day. There's one person inking the plate, another operating the press, still others setting type, one person checking what's been printed, a young boy apprentice in the foreground helping ou</span>t. </span><span class="Apple-style-span">Way in the background you can see a woman bringing in a load of paper. And above on drying racks is the results of the days efforts. </span><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span"><span class="Apple-style-span">It would take weeks to print a</span><span class="Apple-style-span"> book, thanks to the<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-HvX0_vOP2OXPISdterawefZJuVALHass7HuUQQ6yD1RqErBtmybvw8NhjhbztQfpmfZN78_y7nu8lhVXwiVWfzPO7STFJ7KhBZnnZu9BKY6QWblN6B6XERTYQu97l-n7aHSBrv3ucPE/s320/www.Alprinta.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 134px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5571761767256379826" /> labor of all those people.</span></span><div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">The printing process has certainly changed. A <a href="http://dynodan.com/printing-process-explained/">typical printing press </a>for a modern newspaper is a pretty self-contained unit, It can run up to 3000 feet per minute (that's a lot of newspapers) and it also cuts and shapes the paper to size. Obviously requiring a lot less people per page. But I'm wondering if this behemoth isn't also rapidly becoming as outmoded as the first print shop pictured above.</span></div><div><span class="Apple-style-span"><br /></span></div><div><span class="Apple-style-span">Perhaps a better example of the printing press of the future is the little item pictured below.</span></div><div><br /></div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwPyYtUoiA2kuF_DiU0zUhto2K4Tpy11LMC2eKSj7TTK9-VM2MPHzxW9VVsjJPhbOKxTYYstPh7k2JMLGCCAKrhanvunCFzONI43i1301NIPiAOe8fWItbfn9J4Ubc_YkAsv_h1NO45eM/s320/ipad-420x0.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 236px; height: 320px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5571765625510996626" /><span class="Apple-style-span"><br /></span></div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-5650832670372348672011-02-04T14:37:00.000-08:002011-02-07T14:00:37.013-08:00The Face of Modern Psychiatry<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj11IuyYR49BLbvBdgpHwFmBmLfVfjlrrhph8xfO9TrzchZeFA3wjVw3kdcyMODVft_2wkpLmZ4ZXnGRzr_Aqo1cJJyNtSxXTfMw8PsaqaPhTKr-ebeaRnAnWw8293NxMsUPtcRefZ4wsw/s1600/logo.gif"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 154px; height: 72px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj11IuyYR49BLbvBdgpHwFmBmLfVfjlrrhph8xfO9TrzchZeFA3wjVw3kdcyMODVft_2wkpLmZ4ZXnGRzr_Aqo1cJJyNtSxXTfMw8PsaqaPhTKr-ebeaRnAnWw8293NxMsUPtcRefZ4wsw/s200/logo.gif" border="0" alt="" id="BLOGGER_PHOTO_ID_5571022258141705154" /></a><br />Working on a short documentary for the American Psychiatric Association. The APA wants to put a face on modern Psychiatry and the video will profile four Psychiatrists. What stands out is that these days Psychiatry bares little resemblance to the early days of Freud, Jung and the rest of the gang. In fact, modern Psychiatry has <a href="http://www.healthyminds.org/">transformed itself</a> from an argument over competing theories of personality to a modern medical practice based on research and science. And yes, psychiatrists still do therapy and they can use brain imaging to shows its effectiveness. I guess you could say they've moved from an emphasis on the "mind" to a focus on the brain.<br /><br />And the video? One psychiatrist we're profiling is a government research scientist trying to combat addiction. His agency is partnering with local communies to put in place early intervention and prevention strategies. The second works with brain trauma and helped create a strong public outreach and education program. The third works with children and adolescents in private practice and the ER, working one-on-one with patients in both an office and hospital setting. And the fourth manages an out-patient clinic for a University Hospital. She's concerned with caring for patients and mentoring young psychiatrists-in-training.<br /><br />And while it is not the focus of the video, many people still give mental health a low priority compared to physical health. There is still a stigma attached to it and we seem to have difficulty understanding that mental illness is a disease and not simply a lack of will power.<br /><br />Hopefully, the video will help us gain a little insight and a new perspective on these issues.Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-17191446563871182011-02-02T08:48:00.000-08:002011-02-02T08:55:27.248-08:00Art for Art's Sake<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVAs7chzDXO5zMVq7e2zKROSFE3WQZRnD6yhzBolM12CL66MEQ78n-9h5g0i6tr_BCT38hr0r_66bc0brPIF1TsJ1majkvq_P1LuqnIb5xTIpMCkeMef3JLEffMOCH_-kr6_sOkW59eg8/s1600/Screen+shot+2011-02-02+at+11.52.09+AM.png"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 123px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVAs7chzDXO5zMVq7e2zKROSFE3WQZRnD6yhzBolM12CL66MEQ78n-9h5g0i6tr_BCT38hr0r_66bc0brPIF1TsJ1majkvq_P1LuqnIb5xTIpMCkeMef3JLEffMOCH_-kr6_sOkW59eg8/s200/Screen+shot+2011-02-02+at+11.52.09+AM.png" border="0" alt=""id="BLOGGER_PHOTO_ID_5569136262872891522" /></a><br />Google is changing how we experience museum masterpieces. The Google Art Project is a partnership between Google and 17 of the world's leading arts organizations. <a href="http://www.telegraph.co.uk/culture/art/8296878/Nicholas-Serota-Googling-the-future-of-art.html">A short video</a> explains what they are doing.<br />And for some of the museums, there's a virtual tour of the galleries as well. Easy access for anyone with a computer and curiosity. If this keeps up, we'll never have to leave the comfort of the old rockin' chair...Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-70605239183749927622011-01-27T08:54:00.000-08:002011-01-27T09:38:30.389-08:00Photojournalism: Something Old, Something New<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDzSBdaICJqRQAJTjn3ldOaCvtlxEKVrAZrKZmWFElZ62cI5uwKoA7BRkOYIr_HRUgrnU5BFLzwJHjaX6qH6_MlOE-HhjtLqb-fmv3n5KSrUZmhWaGQiAhBzYB3upruGR2m9XUbhVXFho/s1600/Screen+shot+2011-01-27+at+10.29.31+AM.png"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDzSBdaICJqRQAJTjn3ldOaCvtlxEKVrAZrKZmWFElZ62cI5uwKoA7BRkOYIr_HRUgrnU5BFLzwJHjaX6qH6_MlOE-HhjtLqb-fmv3n5KSrUZmhWaGQiAhBzYB3upruGR2m9XUbhVXFho/s200/Screen+shot+2011-01-27+at+10.29.31+AM.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5566919682715303490" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinCOY5vAtW3OWgk2TLC9no1lhFESn93FvQPb3vyyzwVw2wSjXtyH0vxmToboicQZTr39zB3JCM5WBNfcmS9rTnls_kIk_xvNKdi2iwcUvgF1x_iRBElpOrwh-IZ6JU8ds8q4KLVXvsskY/s1600/Screen+shot+2011-01-27+at+10.29.52+AM.png"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinCOY5vAtW3OWgk2TLC9no1lhFESn93FvQPb3vyyzwVw2wSjXtyH0vxmToboicQZTr39zB3JCM5WBNfcmS9rTnls_kIk_xvNKdi2iwcUvgF1x_iRBElpOrwh-IZ6JU8ds8q4KLVXvsskY/s320/Screen+shot+2011-01-27+at+10.29.52+AM.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5566918389908273906" /></a><br /><br /><br /><br /><br /><br /><br /><br />It all started with a <div><a href="http://lens.blogs.nytimes.com/2010/09/14/if-photojournalism-is-dead-whats-luceo/">blog in the NYT</a> about the death of photojournalism. <a href="http://www.epuk.org/Opinion/961/for-gods-sake-somebody-call-it">Quoting Neil Burgess</a>, former UK Bureau Chief of Magnum: "Magazines and newspapers are no longer putting any money into photojournalism. They will commission a portrait or two. They might send a photographer off with a writer to illustrate the writer’s story, but they no longer fund photojournalism. They no longer fund photo-reportage. They only fund photo illustration."<div><br />His comments remind me of one of the great examples of modern photojournalism that originated in the NYT photography blog, Lens. <a href="http://www.nytimes.com/packages/html/nyregion/1-in-8-million/index.html">One in Eight Million </a>was groundbreaking, based on the simple concept that NY is a city of interesting characters. Each piece (running about three minutes) plucked a New Yorker out of their every day life and told their story with a sound montage of their voice and evocative B&W photography by a NYT photographer. The people came from all walks of life and the series described as an "ode to the city," <a href="http://lens.blogs.nytimes.com/2010/09/29/one-in-8-million-wins-an-emmy/">won an Emmy</a> for "new approaches to documentary." I found "One in Eight Million" fascinating, posted several blog entries about it, "<a href="http://gviblog.blogspot.com/2009/05/one-in-8-million-new-york-characters-in.html">One in Eight Million</a>" "<a href="http://gviblog.blogspot.com/2009/06/letter-to-michelle-mcnally.html">Letter to Michelle McNally</a>" , told friends and colleagues. It takes empathy and considerable skill to create a compelling story arc in three minutes. You can still see the pieces by following the link above.<br /><br />But that was that. For whatever reason, the NYT decided to end it. I'm sure that Emmy was a bittersweet moment for the series producers and photographers.<div><br />I see other examples, too. Here's a link to NYT Photographer Chang Lee's innovative "<a href="http://www.nytimes.com/packages/html/nyregion/secondchance/index.html">Second Chance</a>" series that also died on the vine. It launched in the NYT website in June, 2009 and I believe ended later that year. I wrote several blog posts "<a href="http://gviblog.blogspot.com/2009/06/new-york-times-staffer-chang-w.html">A New Way of Seeing</a>" and "<a href="http://gviblog.blogspot.com/2009/09/capturing-stillness.html">Capturing the Stillness</a>" about his work, too. Chang was incorporating video and photography to frame a person's story in key "moments." He created those moments to allow the viewer time to pause and reflect, and gain a deeper insight into the story he was telling. They say a picture is worth a thousand words. Chang Lee helped show the truth behind the cliche.<br /><br />So, for about a year or two, the NYT was one of the most innovative sites on the web for using video and photography to tell stories. And yes, I still see the names of their great photographers in picture credits, but now it's news photography, not explorations of ideas, issues, people, environments, etc. that seemed to offer such promise in the early days of Lens.<br /><br /><div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5HvH1W5uUbuFTeHQXh9P0SHf61ZF_AsWQ772PIdMMwpRIIQNgO0fqJZvxQfFTzNQaEdala-W_s5CbMB31EnPfBdQnDAywGORGTMxyiYpsu-5jHVyovhRmv0m0g_fm8w-tUjDBqVtNTEI/s200/gitalenz1.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 167px; height: 200px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5566916680303065442" /><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjogfoJAMBDPEnhp_19ctAPUEHDXokozqbNZSVSZzaYAnc0SQl59Mqrb0yFeO30U5iAcQ280F2kQqO_tzdrRTp9R3k_u0hRBVx9BgixQSWt3JTUZ5S9uT7ZrvwOmE-rHsgvOBeD3O3T68o/s200/gitalenz3.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 186px; height: 200px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5566917069758439762" /></div><div><br /><br /></div><div><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Well, I can't end this post with such a downer, so I want to point you towards something new. New to me, anyway. And that's a new site devoted to photojournalism. It's called <a href="http://www.fractionmagazine.com/">Fraction Magazine</a> and it features a wide variety of work, much of it devoted to telling stories with pictures. And reviews. And sometimes wonderful surprises, like the work below, created in the 40s by <a href="http://www.fractionmagazine.com/reviews/mcwhinnielenz">Gita Lenz</a>. Her work, recently <a href="http://candelabooks.com/our-books/gita-lenz-photographs/">rediscovered and published</a>, was featured in the Edward Steichen-curated exhibit "<a href="http://www.moma.org/docs/press_archives/1513/releases/MOMA_1951_0031_1951-04-25_510425-24.pdf?2010">Abstraction in Photography</a>" at the Museum of Modern Art and calls to mind some of the great work of that era.</div><div><br />And these days, Fraction is a great place for those interested in new ways of using images to capture character and exploring the art and ambiance of storytelling. And, hopefully, it will be around for a long time as a source of inspiration for all of those involved in the visual arts.<br /><br /></div></div></div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-72989085828777361042011-01-21T14:47:00.000-08:002011-01-23T14:54:00.345-08:00Time and Space<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFWzDvBOQDPhHoQvIRvt1jBwpXE690rzJYg_dpW3PiPZP5jtAw_JtC0UXD6Gp7PGsfIbhwLg1kQ3lV51AOlcYa8n116E29-NlOvQfI4iEsqXwS-EmrLG8N-o0QxSopYZ2lWDT82Xwod2I/s1600/Amanda-Burden9315.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 260px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFWzDvBOQDPhHoQvIRvt1jBwpXE690rzJYg_dpW3PiPZP5jtAw_JtC0UXD6Gp7PGsfIbhwLg1kQ3lV51AOlcYa8n116E29-NlOvQfI4iEsqXwS-EmrLG8N-o0QxSopYZ2lWDT82Xwod2I/s320/Amanda-Burden9315.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5564773670264029490" /></a>Working on a short video celebrating the contribution Planning Director <a href="http://en.wikipedia.org/wiki/Amanda_Burden">Amanda Burden</a> makes to the <a href="http://www.nyc.gov/html/dcp/html/about/greeting.shtml">City of New York</a> has me thinking about space in more ways than one. I've been editing and interweaving the comments of five people (architects, planners, innovators, etc) describing the impact she's made on the city. I organized their dialogue thematically, added pauses between their thoughts and selected music to bind everything together and create an emotional arc. I've found that designing video this way makes it easier to absorb their thoughts. So all of this had to be accomplished before adding images of a revitalized New York. <div><br /></div><div>And while they're all talking about Amanda Burden, creating a livable city, urban design, space and sustainability, I'm thinking about how to create a different kind of space within the boundaries of this short three to four minute video. </div><div><br /></div><div>First, some background: </div><div>Editing what people say is quite a different experience than editing their words on paper. Most people tend to speak quickly; their thoughts tumble out a melange of phrases, repetitions, with stops, restarts, stutters and an often twisted sentence structure. Reading allows you to stop and consider. But video keeps on rollin' by, so if you're not careful with the words, music and images, it's easy to bombard, overwhelm or simply bore your audience. So how one fills up the space in a three to four minute video is the difference between ho hum and wow. <div><br /></div><div>And what makes it more complicated is this: </div><div>When we speak face-to-face we can usually decode what someone is saying by paying attention to their tone of voice, emotional cues, hand gestures, facial expression and body language. But making a video, we usually try to avoid "talking heads," so all those comprehension cues get thrown out the window as we cover up their visual insights with images. Which makes the ability to carefully edit and place spoken comments all the more important.</div><div><br /></div><div>And you have to do it invisibly, making it seem and sound like the words weren't edited at all. </div><div><br /></div><div>Once you've mastered that skill, you need to orchestrate how the words are delivered for maximum impact. Any seasoned public speaker knows that timing is the riverbed through which the words flow. It's what comedians and actors live for: Timing. And that's also crucial when editing and structuring someone's words.</div><div><br /></div><div>And no, I don't change their meaning. I use editing to enhance what they're saying, making their remarks succinct and crystal clear. And then I surgically add space between the phrases, sometimes even adding full stops, to create, with the music, an internal rhythm. Giving greater weight and impact to the words that remain. And giving the viewer the space to process what's being said. </div><div><br /></div><div>It's a little like a poem, </div><div>where the visual space</div><div>on the page </div><div>gives the words </div><div>greater meaning. </div><div><br /></div><div>Ultimately, it's more like designing than editing, with each moment constructed as a brief embrace and then sending them on to the next. </div><div><br /></div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com1tag:blogger.com,1999:blog-1001006062681120687.post-39664909378044767612011-01-17T10:39:00.000-08:002011-01-17T12:38:35.812-08:00What You See/What You Get<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvLKpeWQx3jbcwaJX8Hech_V4F2pqrqHJp6YbycooWC-n0Ns_UEFjkriSX25E3OA2vla5Pag3SXuRG-vBQfS2LMZyIM5hN073pWa32vxerhaM9Oe_9QQ8QpHK2i_2jr3bn2XcyC3VW0lQ/s1600/JFK+RFK.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 256px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvLKpeWQx3jbcwaJX8Hech_V4F2pqrqHJp6YbycooWC-n0Ns_UEFjkriSX25E3OA2vla5Pag3SXuRG-vBQfS2LMZyIM5hN073pWa32vxerhaM9Oe_9QQ8QpHK2i_2jr3bn2XcyC3VW0lQ/s320/JFK+RFK.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5563228939531965794" /></a>Is what you see inevitably what you get? Well not necessarily. Here's an example of what I mean:<div><br /></div><div>Working on a video for the US Conference of Mayors about JFK and the Call to Public Service. Using still images from his presidency and moments from his speeches to capture that sense of who he was and how he inspired others. And opening the piece with just a few comments from mayors talking about how he inspired them and the nation.</div><div><br /></div><div>Since this was to be an introduction to the video, I wanted to keep the comments short and succinct. So I chopped up their statements to pare down their thoughts and organized them to get the flow I wanted. So far, so good. But then the question: what images should I use? It would have to be something to visually play off what was being said.</div><div><br /></div><div> </div><div>Since this video is being created for the 50th anniversary of his presidency, I wanted something dreamy and nostalgic for starters. That, plus the right kind of music, would give more emotional weight to the opening and more power to the comments. When I saw this photo, I decided to shape the introduction around it. This photo is a great example of the difference between seeing and perceiving. What do you "see" when you look at this image and how do you perceive or take in what you are "seeing?" In considering the creative process, each question gets a different answer. Here's what I mean:</div><div><br /></div><div>Objectively speaking, the photo above shows President Kennedy consulting with his brother Robert, who was then Attorney General. Their body language shows a personal and "private" moment and reflects the seriousness of what they are discussing. The president is obviously distracted by something or someone. Probably the photographer. He is looking away from his brother, and facing the camera. That's the first thing I "saw." But I perceived something else. If the photo was cropped to focus just on the President, it would give the image a totally different context. Still a serious moment, but more abstract. And now you can read much more into the photo. The President's gaze seem as if he was looking right at the viewer, as if sending a message. Which makes it very engaging.</div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdhbn3gXrz9QdEW7-llERklQ4NLGV8mXhf0Jlq7eyOOB0uxOSe5WA6sbt-9wain1q350pA9Bzz5K8EghugjqLjE-yIAhih0C8t5P-c2ApT_cGCKWnzjLdILleCqDbabJWr99fABzJCOqc/s320/jfk.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 178px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5563236145707867330" /><div><br /></div><div>And look at the background. You can see leaves, but they're white. Meaning it was a sunny day and the Kennedy brothers were in shadow, probably standing under a portico at the White House. Also, the photographer was some distance away, using a telephoto lens, which flattens the image. Now the background is out of focus, making the image a little less "real" and more abstract. If the photo was exposed for the sun striking the leaves, the President would be in darkness. But printing the photo so you can clearly see his face also gives it a grainy quality. Again helping make the image more abstract. And that abstraction takes you out of the "reality" of the moment and makes it easier for you to add in someone's thoughts or feelings. The bottom line? You get a dreamy, almost ghostly quality to the image. Perfect for a representation of nostalgic memory. </div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-70004703415313794782011-01-10T12:16:00.000-08:002011-01-12T04:45:45.798-08:00The Power of Ideas<div style="text-align: center;"><br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtSxsVwwCnv189W5OY2UqdVH3LF6gKSF5XzFLFK9VJ7qxAsRdYQRbi7woo1aqFXbhZB3Dxe8otUTPYUv1mdbZj88opxBUcGFBiBefqPNBAUnoqK1bGiCTnpNc6WGZetcCGGpFW-rFYu7A/s1600/PeaceCorps.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 252px; height: 140px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtSxsVwwCnv189W5OY2UqdVH3LF6gKSF5XzFLFK9VJ7qxAsRdYQRbi7woo1aqFXbhZB3Dxe8otUTPYUv1mdbZj88opxBUcGFBiBefqPNBAUnoqK1bGiCTnpNc6WGZetcCGGpFW-rFYu7A/s320/PeaceCorps.jpg" alt="" id="BLOGGER_PHOTO_ID_5560660383753309570" border="0" /></a><div style="text-align: left;">When our nation's Mayors talk about what encouraged them to enter public service, their focus often centers on President John F.Kennedy.</div><div style="text-align: left;">We've been listening to his speeches and selecting images from his presidency to create a short documentary for the US Conference of Mayors. And one thing that comes up over and over is how much he seems to resonate with every day people. You can see it the photos. A gift for empathy and an ability to inspire. Coupled with a call to help others. The kind of role model that asks us to reach out to serve others, and by doing so, serve our nation. That's the power of ideas.</div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-84138942689729569162011-01-07T11:31:00.000-08:002011-01-07T11:48:19.055-08:00David Hockney, iPad Artist<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR86us-U9LIPig3GmQmzvA6msyPN-hjPUm4BMA5mqTQSTwRELRcDP0s7POrvLDuAI5Cvg3P-2yYR5b50upa3PGIwP6AHBHkRc7LZB8At5x6qcWhDssbdA28w-WZAYIltNbQWmJ35pSSQw/s1600/affiche_david_hockney.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 228px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR86us-U9LIPig3GmQmzvA6msyPN-hjPUm4BMA5mqTQSTwRELRcDP0s7POrvLDuAI5Cvg3P-2yYR5b50upa3PGIwP6AHBHkRc7LZB8At5x6qcWhDssbdA28w-WZAYIltNbQWmJ35pSSQw/s320/affiche_david_hockney.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5559530187539733890" /></a><br />David Hockney, ever the experimenter, has found a way to capture and present his art, via the iPad. Here's a <a href="http://www.fondation-pb-ysl.net/fr/Accueil-Fondation-Pierre-Berge-Yves-Saint-Laurent-Copie-485.html">link</a> to his latest exhibit. His art involves vibrant color, dreamy images, and the fascination of seeing the work evolve. Perhaps that's the best part of this new creative experience, witnessing the artist constantly change the essence of the object. And as such, seeing the object continually redefined in terms of form, texture and color. I find the process hypnotic. And the interview on the web site illuminating, like his work.Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-36602008665465253782011-01-05T10:27:00.000-08:002011-01-05T10:56:30.081-08:00A Black and White World in Color<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOT3EF-NT9EaJCqrYk3_g45CzSarzCqT59hX2NC9heYIQ1arlsv3h6oRavzQ9xpE3jjye1bdBURFJXW3iQbx4eqV3EcZIGmakKLjEggxWKebIhkWmzhoRHRrsd8yHing1sfwSEXgzd_XU/s1600/8b29516r.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 257px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOT3EF-NT9EaJCqrYk3_g45CzSarzCqT59hX2NC9heYIQ1arlsv3h6oRavzQ9xpE3jjye1bdBURFJXW3iQbx4eqV3EcZIGmakKLjEggxWKebIhkWmzhoRHRrsd8yHing1sfwSEXgzd_XU/s320/8b29516r.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5558773934031951234" /></a><br /><br />Dorthea Lange, Walker Evans, Jack Delano, Russell Lee. Great photographers of their day, hired by the Farm Security Administration (now the USDA) to photograph America. They traveled our nation documenting how everyday Americans lived and were coping with hard times. It was the first effort of its kind. And the legendary work they produced personifies the Dust Bowl era. The photo of the Migrant Woman and Children by Dorthea Lange is perhaps the <a href="http://myloc.gov/Multimedia/MigrantMother.aspx">best known</a>.<div><br /><div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5z_BENBWRJYn2vVEJPdq9YHpy2fLHSQg1yazNukztNIM577Ey4F3-EmjybX6Latade2LUZuq96pKyGydyEqNIqHqv8MMeW-89V3ceINARblxQYbgx_EdyGOaOyJJGvBO2EvSTgaUXG8U/s320/1a34273v.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 228px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5558773768858651954" /></div><div> And the whole period is engrained in our collective memory in black and white. </div><div>But there's also</div><div>work in color.</div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOlPCh3yAjrrBGmZFNvBiZCUT6FyV3p8v9-BhMhzGQg_h3nF6Ar51jBkrYpeCApI5maBk4V9BjpRxu7rsxzgXEztLgnStR8IA1CO_s4FCfKoytjwTAPizOvZFRsBp5LheacWRBNykHERM/s320/1a34185v.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 229px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5558776411442491026" /><div><br /></div><div>Who knew? It was one of our first Kodachrome moments as photographers used the new color film stock to give a different view of those difficult times. Does color prettify the images? Is trouble better communicated in black and white? What do you think? The images at the Library of Congress are available <a href="http://myloc.gov/Exhibitions/boundforglory/Pages/SlObjectList.aspx">here</a>. A haunting memory of how we were.</div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-34868892725452352332011-01-04T11:53:00.001-08:002011-01-04T12:28:31.703-08:00Glow in the Dark<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNESXewRQ1ItJd6mPq9SGWiSEAkAXcpAkI2AMY1wewj3DstFsQcJJ1h7805aylluqFWcLhpHle8TiWfzh_OrZRh5qouyjvhXrO16GEShBawqAnis9Qj2p0AVcLYxochDp55_Zf6lFXRjI/s1600/Screen+shot+2011-01-04+at+3.06.46+PM.png"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 231px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNESXewRQ1ItJd6mPq9SGWiSEAkAXcpAkI2AMY1wewj3DstFsQcJJ1h7805aylluqFWcLhpHle8TiWfzh_OrZRh5qouyjvhXrO16GEShBawqAnis9Qj2p0AVcLYxochDp55_Zf6lFXRjI/s320/Screen+shot+2011-01-04+at+3.06.46+PM.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5558425097057283426" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwbS7njHXYtqK-xni5fEseFf2VrgHkW0ZDR7m_vtbh2EFWNcLlEf1TCKp8wlFX8CxOSwP9TZt_Vr79RtUrd1GHoDAFrPAAy5uiP_sz-ZVeNhIay_e1VmXZ2NrgpL1I9v27trlCONuyU84/s1600/02joint-slide-1LTM-thumbWide.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 190px; height: 126px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwbS7njHXYtqK-xni5fEseFf2VrgHkW0ZDR7m_vtbh2EFWNcLlEf1TCKp8wlFX8CxOSwP9TZt_Vr79RtUrd1GHoDAFrPAAy5uiP_sz-ZVeNhIay_e1VmXZ2NrgpL1I9v27trlCONuyU84/s320/02joint-slide-1LTM-thumbWide.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5558424962113094706" /></a><br />Neon creates its own fantasy world. I think that electric glow carries its own magic. Certainly draws your eye. Recently the <a href="http://www.nytimes.com/2011/01/02/nyregion/02joint.html">NYT did a piece</a> about one of the few remaining neon shops in NY, <a href="http://www.lettherebeneon.com/">Let There Be Neon.</a> The shop was founded by Rudi Stern who used to do neon shows for the psychadelic guru Timothy Leary. There's an homage to Stern on their web site and a nice <a href="http://www.nytimes.com/slideshow/2011/01/02/nyregion/02joint.html?ref=nyregion">slide show</a> of some of their stuff. But many say neon is no longer a sign of the times. No longer a city's defining moment - Tokyo, Las Vegas and Times Square not withstanding. <div><br /></div><div>But there's another side of neon beyond the prosaic. There's the work of inventive neon sculptor <a href="http://www.lakich.com/lakich%20studio.htm">Lili Lackich</a>, long known by her signature piece, MONA, originally created for the Museum of Neon Art. Her work is displayed in her book, <a href="http://www.lakich.com/gift%20shop.htm">Neon Lovers Glow in the Dark</a> available on her website. Her <a href="http://www.lakich.com/neon%20sculpture.htm">website</a> is a fascination in itself. And a great reminder that artists help us see the world through a different lens.</div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-60025548752410226772010-12-29T20:44:00.001-08:002010-12-30T21:41:08.964-08:00Collaboration<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjncWv0DheMfNiastQAtIqZPtVZvlaT5nOA8y2FZydC7L9siG_wbbCjObcOLRkbAiQoX_oLsm2O1hjeenRZonX9jFwCJJ-8M_-byW22_IfUGyAr2WKD2vKyE3oKT4gHKCR0qJzhQWkgWMQ/s1600/Hound+Dog+Front.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 211px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjncWv0DheMfNiastQAtIqZPtVZvlaT5nOA8y2FZydC7L9siG_wbbCjObcOLRkbAiQoX_oLsm2O1hjeenRZonX9jFwCJJ-8M_-byW22_IfUGyAr2WKD2vKyE3oKT4gHKCR0qJzhQWkgWMQ/s320/Hound+Dog+Front.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5556331784877229426" /></a>Creativity, in our business is all about collaboration. Camera and Sound. Producer and Editor. Director and Actor. And so it goes. Collaboration can be bliss or chaos. Sometimes both. When two conflicting visions vie for a voice, sometimes the result is glorious harmony. Say, as in the work of <a href="http://www.leiberstoller.com/">Leiber and Stoller</a>, whose <a href="http://www.amazon.com/Hound-Dog-Leiber-Stoller-Autobiography/dp/1416559396/ref=sr_1_1?ie=UTF8&s=books&qid=1293773184&sr=1-1">book </a>details how they came up with some of Motown's greatest hits. What was it like? Here's an inside view of their approach to working together: <span class="Apple-style-span" style=" color: rgb(51, 51, 51); line-height: 22px; font-family:arial, sans-serif;"><span class="Apple-style-span" style="font-size:small;">"I can't remember if it's Mike or Jerry who describes their relationship as a 50-year-old argument," says David Ritz, who ghostwrote Leiber and Stoller's joint memoir. In their words, it was "long, long years of stepping on each other's words and toes and sentences."</span></span><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 170px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCGGU-V-7_W2Mrc3YpKtPoL4rFUiaqLtzQqUOs984krMH6OxTZqiUxYU0YL_5JkN4QHxGgDY8Z99VlRfDzbOKh-pxvGKlCPZhDpD1w9Zs-thqVVpdif2QxNmvopQGBD8BZcnCcu1gxA9U/s320/gettyimages_103302043_custom.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5556706431577330258" /><div><span class="Apple-style-span" style="font-family:arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 22px;"><span class="Apple-style-span" style="font-size:medium;">And then there's the dynamic duo, Mick Jagger and Keith Richards. In Keith's new book, <a href="http://www.amazon.com/Life-Keith-Richards/dp/031603438X/ref=sr_1_1?ie=UTF8&qid=1293772155&sr=8-1">Life</a>, he describes yet another turbulent collaboration, but a winning partnership too. And that dichotomy is also the subject of a recent <a href="http://www.npr.org/2010/12/29/132436557/polar-opposites-find-common-ground-in-music">NPR story</a> on the powerful energy unleashed by polar opposites.</span></span></span></div><div><span class="Apple-style-span" style="font-family:arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 22px;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></span></div><div><span class="Apple-style-span" style="font-family:arial, sans-serif;color:#333333;"><span class="Apple-style-span" style=" line-height: 22px;"><span class="Apple-style-span" style="font-size:medium;">For me, the key to a successful collaboration in music or any other creative effort is to find a way to harness that energy. I think it's normal, even predictable to have different approaches, different points of view. That's part of the creative process. But then it's about listening, hashing it out, exploring and synthesizing. You can travel parallel paths, zig and zag, but eventually you have to come together. And when you do, you can really rock and roll.</span></span></span></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com1tag:blogger.com,1999:blog-1001006062681120687.post-46226608178229263212010-12-28T18:23:00.000-08:002010-12-28T20:50:13.937-08:00DBA and the Age of Anxiety<div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggf8HQnnFkaTOQzwOL9c8rWIAyR7OFIZkPrckqiwFYpsnBl3is39OY4NunNzM86aYhbqBlLuVvcSOQ0C7FEEnjXkNSjgE7FBhhmc8jQzE14_EiMAm7d-1gww5J5idKde83peCdE4XD4YY/s1600/Picture+2.png"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 122px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggf8HQnnFkaTOQzwOL9c8rWIAyR7OFIZkPrckqiwFYpsnBl3is39OY4NunNzM86aYhbqBlLuVvcSOQ0C7FEEnjXkNSjgE7FBhhmc8jQzE14_EiMAm7d-1gww5J5idKde83peCdE4XD4YY/s200/Picture+2.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5555930984243257826" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJYjuwSgoq7nVYCYrywAA4i_fE3jGl9BnD3cU-nGGUmVPiuKGOb3wEuc0OkjB-dAh12eKG8ml-84qZLnVxgk_6txLyQoU397pEcSJJK05PLEiRB1B5dCjtbEM46WzHkc7yFuED7kDcR4/s1600/Picture+1.png"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 114px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJYjuwSgoq7nVYCYrywAA4i_fE3jGl9BnD3cU-nGGUmVPiuKGOb3wEuc0OkjB-dAh12eKG8ml-84qZLnVxgk_6txLyQoU397pEcSJJK05PLEiRB1B5dCjtbEM46WzHkc7yFuED7kDcR4/s200/Picture+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5555930783002842338" /></a><br />Given all the Holiday gear newly acquired in all our households, it's now time we prepare for that electrifying malady known as DBA. What's DBA, you ask? With DBA we're talking the latest viral video ploy: Dead Battery Anxiety, as created by a Charleston, South Carolina firm <a href="http://www.slantmedia.net/">Slant Media</a> for <a href="http://www.usa.philips.com/c/power-solutions/22544/cat/">Philips Electronics</a>. <div><br /></div><div>Yes, it's a little stupid, which is what makes it funny. And yes, it conjures all those TV ads touting the drug of the day. So there's that familiar strain about it. And it's a little self-conscious too, which seems to play fine on the Web. And there's that "hey, we're in on the goof, cause we're as cool as you" hipster attitude. If you strike the right tone, it works well with the genre. And I think this one has appeal.</div><div><br /></div><div>The ads are simply shot and edited (good for the Web). Fun punch lines. My favorite is "<a href="http://www.deadbatteryanxiety.com/dba_in_the_media.html">Plug Hawk Tazed at Airport</a>" because it just relies on physical action and that funky consumer camera look. You can watch them all at the <a href="http://www.deadbatteryanxiety.com/">DBA website</a>.<img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 138px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieWALpyANsFZLMuy-ibVTaRkunQ-Bj0EEaGcAOnL6WDlSp7vzj7DOYvqBDPrd1dYFHdbMDNQoCG2GxEoGjDgjaU4YcLsB9XLOIer4zNF44n7N5A28r2LdvxA4Jy18JKD4_GkVltCtM-jM/s320/Picture+5.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5555956409444731506" /><div><div style="text-align: center;"><br /></div>The NYT <a href="http://www.nytimes.com/2010/12/13/business/media/13adnewsletter1.html?ref=advertisingemail&nl=business&emc=ata1">wrote about the campaign</a> in Stuart Elliot's advertising column. We learn that consumers "worry about power" constantly, since smart phones are kinda dumb about how much power they use. And the campaign was designed for the online world, because Philips and Slant think their consumers have pulled the plug on TV and print. </div><div>So there you have it. If you want to follow their rules for a viral campaign, hang on to a style everyone already knows, add some humor, keep it simple, make your point and get out of the way, and don't try to be too slick. That's my take away.</div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-42330121846991078592010-12-22T11:09:00.000-08:002010-12-22T11:41:02.484-08:00Radioactive, the Book<div style="text-align: center;"><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaER5ojtjPmN_K_P5tVLANQDMrWxhh5z1wiM3A-I6RNWIBCxriE9lKcf_ha3k2QBcH4Gb6LebMRt4K7aMqYAOmd63Rsv1RrmdqSFX4pkQAyo8tcM_h2DiQrU9a1Ent4LOzSDdneG2SnoI/s1600/22bookcap-articleInline.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 131px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaER5ojtjPmN_K_P5tVLANQDMrWxhh5z1wiM3A-I6RNWIBCxriE9lKcf_ha3k2QBcH4Gb6LebMRt4K7aMqYAOmd63Rsv1RrmdqSFX4pkQAyo8tcM_h2DiQrU9a1Ent4LOzSDdneG2SnoI/s200/22bookcap-articleInline.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5553586292098319058" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh63dzhX8BKxPOiOBVoqKh6qnCPMaM-8ym05m6TW5naI0KZb5v1QvTvfQgmcZR5tmxmniBXzMgQiiPPGisSKYPr_1d0TJHACogD0_9qMgGuUjmNCLd1wKUjygHx1jCU15YP30o2uglw5Cs/s1600/Radioctive-poster-for-web1-240x344.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 140px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh63dzhX8BKxPOiOBVoqKh6qnCPMaM-8ym05m6TW5naI0KZb5v1QvTvfQgmcZR5tmxmniBXzMgQiiPPGisSKYPr_1d0TJHACogD0_9qMgGuUjmNCLd1wKUjygHx1jCU15YP30o2uglw5Cs/s200/Radioctive-poster-for-web1-240x344.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5553586166135162642" /></a>A new "graphic novel" biography of the Curies, Marie and Pierre, is getting rave reviews. The <a href="http://laurenredniss.com/wp-content/RADIOACTIVE-PR-Final.pdf">Press Release</a>:<div>A VISUAL JOURNEY INTO THE LIFE OF MARIE AND PIERRE CURIE AND THE HISTORY OF RADIOACTIVITY, AS TOLD THROUGH THE DAZZLING ARTWORK AND WRITING OF <div>ACCLAIMED AUTHOR AND ARTIST <a href="http://laurenredniss.com/home/">LAUREN REDNISS.</a></div><div style="text-align: center;"><br /></div><div>To create the visuals for the book, she combines vibrant backgrounds captured on photographic paper via the rays of the sun and her stylized line drawings. And she is a powerful storyteller, as her work is described in this <a href="http://www.nytimes.com/2010/12/22/books/22book.html?_r=1&ref=arts">NYT review</a>: "...<span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; font-size: 15px; line-height: 22px; "> it’s a deeply unusual and forceful thing to have in your hands. Ms. Redniss’s text is long, literate and supple." The review continues: "</span><span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; font-size: 15px; line-height: 22px; ">The electricity in “Radioactive,” however, derives from the friction between Ms. Redniss’s text and her ambitious and spooky art. Her text runs across and over these freewheeling pages, the boundaries between word and image constantly blurring. Her drawings are both vivid and ethereal."</span></div><div style="text-align: center;"><span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; font-size: 15px; line-height: 22px; "><br /></span></div><div><span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; font-size: 15px; line-height: 22px; ">Here's two examples from her <a href="http://www.amazon.com/Radioactive-Marie-Pierre-Curie-Fallout/dp/0061351326/ref=sr_1_1?ie=UTF8&qid=1293046150&sr=8-1">book</a></span></div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl3P3zpL-snE62eoWs4OXZ271HcHPwanQZf3GZiaKfYQ8yKOLISvjswzusfn6X4A54-nkyoWEdQfYoS3YRT5r_aM4uCk54vmO_SNJzMHXW72YW1gPv8bA3rs_AHhOFeJ0ylZAwPnUtZx8/s200/Screen+shot+2010-12-22+at+2.01.05+PM.png" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 138px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5553591495685087330" /><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZAZij4ez7g06OSBc3I2fzQ1ynIHHumLO84hzIgG1gjnH27zVpYnDXN5XnCsBzjB7H5lFZR-oTXn2QRdGwxGjCrcrHuM-OLIGoIn3Il-PKu9kmQH194yV_AnuZWKnL2HvTpaZpXKwcwUs/s200/Screen+shot+2010-12-22+at+2.01.24+PM.png" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px; height: 138px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5553591198149734690" /><div><span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; font-size: 15px; line-height: 22px; "><br /></span></div><div><span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; font-size: 15px; line-height: 22px; ">Like all powerful artists, she offers a new way of seeing and thereby new insight into the world we live in. Not to mention that the Curies themselves make a fascinating story. And coupling her distinctive visuals with a talent for language should put Radioactive high on anyone's reading list. And, hey, the cover glows in the dark. </span></div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-57017614311931735562010-12-22T09:11:00.000-08:002010-12-22T09:37:49.683-08:00Just Joe and a Great Idea<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOArQXsnAWmaB8Hz_8WTzz3ooctRqR_2Cu7mzNeXIZj2K_UQjlVLG0LN84A8Q8n8vUhv7N_Ft2NnVDJASFqu1pE4SzeX8WFWS2Kee9_PzTGnBKTUTNDJjWwsEdIjbFK8Xj4GuAFJ51_hc/s1600/Screen+shot+2010-12-22+at+12.33.00+PM.png"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 209px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOArQXsnAWmaB8Hz_8WTzz3ooctRqR_2Cu7mzNeXIZj2K_UQjlVLG0LN84A8Q8n8vUhv7N_Ft2NnVDJASFqu1pE4SzeX8WFWS2Kee9_PzTGnBKTUTNDJjWwsEdIjbFK8Xj4GuAFJ51_hc/s320/Screen+shot+2010-12-22+at+12.33.00+PM.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5553560114241461554" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiueyTi1rLrfQ3FX7wxh62q9IwsZDoJ5Dj_bkhWcl2acHg8jUuKikASiHhBnPJDchNYJmYZe_WJvPWZ4X-kqcyxUkY9BXpK-RPtG4nUQt-nasfgIV63nHNrdUgXRNzsH039mRoPvTBCo4g/s1600/badge_video.png"><br /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBP7jRLyd7pbRmNmvUMkqKqxbbZBDd3988MZW5kn4fV6ILOTpbjW5nI-hXez8vMGxNTu8ziB_KjRtFCYXDGHSfLOLt5i-ZLQfXXxMaiS-2gPBd8cDt9zC_Dg0WY2qCg__ezkoySnobouc/s1600/joe.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 136px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBP7jRLyd7pbRmNmvUMkqKqxbbZBDd3988MZW5kn4fV6ILOTpbjW5nI-hXez8vMGxNTu8ziB_KjRtFCYXDGHSfLOLt5i-ZLQfXXxMaiS-2gPBd8cDt9zC_Dg0WY2qCg__ezkoySnobouc/s200/joe.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5553557092083024274" /></a>Any one working in our business knows its hallmark is collaboration. Yeah, we hear about the Director as Auteur and the Client as King. But nothing happens without a bunch of people working together. One-man-bands only work on street corners. So here's a new approach to an old concept. Maybe brilliant. Maybe unworkable. But like any new idea, it's worth a closer look. And if what you see is any example of what may be, then it could be a definer for how we creatives will come together to play in the web sandbox in the next decade. <div><br /></div><div><a href="http://www.imdb.com/name/nm0330687/#Actor">Joe Gordon-Levitt</a> is the proud creator of <a href="http://hitrecord.org/reel">HitREcord.org</a> which is a site for many people to work on a project as each contributes and/or reforms the work. It could be as simple as a remix or as complicated as a grand production with Joe as the Director/Prime Mover. Joe's concept explainer video is <a href="http://hitrecord.org/records/101039">here</a>. And a fantastical collaboration video, inspired perhaps by his great work in the <a href="http://www.foxsearchlight.com/500daysofsummer/">(500) Days of Summer</a> can be seen in the fanciful <a href="http://hitrecord.org/records/65444">Morgan and Destiny's Eleventeenth Date - The Zeppelin Zo</a>o. Check out the language. That in itself is worth the price of admission. </div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-63303207777920031622010-12-21T06:37:00.000-08:002010-12-21T07:20:31.657-08:00One Man Makes a Difference<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj2uWNr3A7owpAbnmctc04OkAEjorm3YFQfJw3hfjdcGLe2w65lR7kAf4XwXv4uprZ9JVRS1HiYw0GpXiE4Dy8XVpCK_vHVM6M96Pj7Y8J1tLZtVfyIbPR6W8QIiNeIgl4UFpFQyfMYxU/s1600/the_share_program_of_shepherd_center_5608399.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 300px; height: 224px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj2uWNr3A7owpAbnmctc04OkAEjorm3YFQfJw3hfjdcGLe2w65lR7kAf4XwXv4uprZ9JVRS1HiYw0GpXiE4Dy8XVpCK_vHVM6M96Pj7Y8J1tLZtVfyIbPR6W8QIiNeIgl4UFpFQyfMYxU/s320/the_share_program_of_shepherd_center_5608399.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5553146628025577874" /></a><br />An essential part of America's mythos is that one person can make a difference. We celebrate those that do and encourage others to follow their example. Today NPR ran a story about one such person, <a href="http://en.wikipedia.org/wiki/Bernard_Marcus">Bernie Marcus</a>. Upset about so many of our troops returning with brain damage, he wanted to help. Funded a program to do so and pitched it to the VA, saying he would help finance it. According to the <a href="http://www.npr.org/2010/12/21/132203864/philanthropist-provides-care-that-the-pentagon-wont">NPR story</a>, the VA said thanks and did nothing. Bernie, a co-founder of Home Depot, went ahead on his own to set up Project Share, and the results of his philanthropy are documented in the story.<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL-F3K_EzD9WRt-Q2w66-YQ8aVla_GY1iCVAn89aSebjB1RuwNYyDnGwtmgCpdauuZ1sddZbHMaA0N8szV02507zHVuVhoDmDhYU1NSJj4NuW0J-Rq59gxQJLruG73xXTGK81LHHgN1CA/s200/DeBakey_Today.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 140px; height: 200px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5553153273241823986" /><div><br /></div><div> A number of years ago I worked for the VA on a biography of <a href="http://www.houston.va.gov/debakey.asp">Dr. Michael E. DeBakey</a>, noted heart surgeon. What I learned from that experience was that DeBakey served in WWII, learned about medical trauma, developed the concept of the MASH unit to provide immediate attention to wounded troops and successfully fought the military bureaucracy in order to institute it during the Korean War. He also helped create a system to track surgical outcomes, trained hundreds of surgeons and continued to work closely with the VA to insure quality of care. That was a time when the VA was a proud institution.</div><div><br /></div><div> I think the NPR story is a good example of how big organizations can become tone deaf to their original mission. And in the process lose touch with the needs of the people they were set up to serve. It's a process that seems to repeat itself over and over again. Making the NPR story an excellent example of what good journalism can accomplish.</div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-75410461668015468562010-12-20T17:35:00.001-08:002010-12-20T18:15:27.548-08:00Both Sides Now<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1y3g7DfKmZANz-ZtHjwUvzpHmq3hrBm_DdalWiWH6_3oidppWdG2hn72SwFaIphQYueNlfD70bVo7D31yzqv1fhISmJQBBd7ifyMJ1ewIfBRibX6uR3q-mvhja1N1ZcFi3LWZRRaq4Qc/s1600/Picture+1.png"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 308px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1y3g7DfKmZANz-ZtHjwUvzpHmq3hrBm_DdalWiWH6_3oidppWdG2hn72SwFaIphQYueNlfD70bVo7D31yzqv1fhISmJQBBd7ifyMJ1ewIfBRibX6uR3q-mvhja1N1ZcFi3LWZRRaq4Qc/s320/Picture+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5552953202904567602" /></a><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp89dFPLtsB_3TKZjLGvAAHp0-F-5Y6Xq1ijJv52vKLM1Fu3sO_WkYySJjrvzFyRZaVkfwumSFRkqwkBuMN3brgWZedStx6LkIT5J6z6A9E-g3YgBrtCpYG29fdO_dIWcArpb9BLkjZaw/s1600/COLONEL-articleLarge.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 168px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp89dFPLtsB_3TKZjLGvAAHp0-F-5Y6Xq1ijJv52vKLM1Fu3sO_WkYySJjrvzFyRZaVkfwumSFRkqwkBuMN3brgWZedStx6LkIT5J6z6A9E-g3YgBrtCpYG29fdO_dIWcArpb9BLkjZaw/s320/COLONEL-articleLarge.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5552943401714061266" /></a>Lt. Col. David Richardson makes his home within two worlds that often collide. Sometimes he's an abstract artist. Other times a marine. Fascinating that he can keep the two facets of himself compartmentalized. But understandable as well. I know nothing about his service in the Marine Corps. But I very much like his art. It's bold and yet inviting. <a href="http://www.nytimes.com/slideshow/2010/12/19/arts/design/20101220-colonel.html">The work</a> seems to take you on a journey, and within the splashes of color you can get lost in its checkered landscape or invigorated by unraveling the fabric of some unknown army off to war. I think he's found a way to envision his own symbols of territory, might and power. Much of his work at a local <a href="http://www.rallscollection.com/">gallery in Washington, DC</a> is inspired by the Trojan war. Fitting, right? <div>To rise to the rank he now holds, he has to have a mind that's orderly; that deals with systems, evaluation and logic. To work as an abstract painter, he has to have a mind that's creative, open to experience, in touch with an emotional landscape. I find the contradictions fascinating and empowering. </div><div> Because to understand how to communicate effectively, and to work successfully in our business, you need to be able to flow freely between those two worlds. You should possess all the evaluative and creative qualities evidenced in the two lives of Lt. Col. Richardson. And, given how separate those two lives must need be, I admire that he gives voice to both. That definitely takes commitment and courage.</div><div>And why does he do it? Here's a quote from a <a href="http://www.nytimes.com/2010/12/20/arts/design/20colonel.html">NYT article</a>: <span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; font-size: 15px; line-height: 22px; ">I was never interested in painting ugly paintings,” Colonel Richardson said. “We often say to the general, ‘Here is the bottom line up front.’ My bottom line up front is I want to create something beautiful. To me there are enough disturbing and ironic things in life.”</span></div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvaTjDXx45DQctgQLwrpzZOU-G_N_6_0nluXufiSFJARAnv_jltaFbdg0nvc3mkKzimU2B7dHsl-2PnOjDrNuCVrhGrI3gYTltSO6N2xnPbOGrO3qTR7t29isGH13JXAFn6wUYp-81VP0/s320/Picture+2.png" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 292px; height: 320px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5552949514412567394" />Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com1tag:blogger.com,1999:blog-1001006062681120687.post-37879046343489958472010-12-20T06:52:00.000-08:002010-12-20T07:15:02.477-08:00Making it Real<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAhJM-KrfbS2rrzIYIJUSbBVeIgz8l_dUjGlgmeG6_V_TLLzmMrXU5jkLFGSy2OhujCcc8C9pdIjZWAge_cTKuVBUM6QgQtrV3m_uPC7yjr1Y_3cZ4LJmz0UZqrIB3z1LrQkz_oc5IT6s/s1600/falcon-nebula_wide.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAhJM-KrfbS2rrzIYIJUSbBVeIgz8l_dUjGlgmeG6_V_TLLzmMrXU5jkLFGSy2OhujCcc8C9pdIjZWAge_cTKuVBUM6QgQtrV3m_uPC7yjr1Y_3cZ4LJmz0UZqrIB3z1LrQkz_oc5IT6s/s320/falcon-nebula_wide.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5552778145300194402" /></a><br />Sound in a video or movie is the "making it real" part of the puzzle. We think about the images and often those are what stick in our mind. But it is sound that brings it all to life. <div> Imagine a beautiful landscape and the sound of birds. Sets you up for a good feeling. Now imagine the same landscape and the sound of approaching helicopters. Could be trouble coming. </div><div>Same picture, different realities, thanks to sound. And creating a sound scape for video or film can be enormously satisfying. A long long time ago I was hired to do sound design for a USDA film, "<a href="http://www.youtube.com/watch?v=WOM8SPNGLhY">Day of the Killer Tornados</a>." I know, sounds like a joke. But this was a long time ago. And while a dramatic story was told about the Government's tornado early warning system, most of the images had no sound whatsoever, just narration and a few moments of dialogue. It was my job to find and sometimes create the missing sounds. As one of my first jobs as an editor, it was a great lesson for me in how sound can bring the story to life.<div><br /></div><div>NPR recently ran a piece entitled the <a href="http://www.npr.org/2010/12/12/131968222/-the-sounds-of-star-wars-now-at-fans-fingertips">Sounds of Star Wars</a>. It talks about sound effects and how they found signature sounds for those movies. And created R2D2's memorable character in the process.</div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-59111152167449586162010-12-09T07:50:00.000-08:002010-12-09T07:58:41.897-08:00What’s with those new discs?<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGap1rtqEa1RyRAVRmZu5jgNLFjcPvaM-jmY4aPs8ANWXi9HBGHDrOyLFSwqrNsx9Z98H_k_rKR4IYjHw-WEzx9ciahGd_zTk3PdzTAc3jdkh3nQ3G4aMX0WK6TxGQwYxIb6lS4eYwblc/s1600/Sony-PDW-F800-with-media.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGap1rtqEa1RyRAVRmZu5jgNLFjcPvaM-jmY4aPs8ANWXi9HBGHDrOyLFSwqrNsx9Z98H_k_rKR4IYjHw-WEzx9ciahGd_zTk3PdzTAc3jdkh3nQ3G4aMX0WK6TxGQwYxIb6lS4eYwblc/s200/Sony-PDW-F800-with-media.jpg" alt="" id="BLOGGER_PHOTO_ID_5548710995255874242" border="0" /></a><br /><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:donotshowrevisions/> <w:donotprintrevisions/> <w:donotshowinsertionsanddeletions/> <w:donotshowpropertychanges/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> <w:splitpgbreakandparamark/> <w:dontvertaligncellwithsp/> <w:dontbreakconstrainedforcedtables/> <w:dontvertalignintxbx/> <w:word11kerningpairs/> <w:cachedcolbalance/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathpr> <m:mathfont val="Cambria Math"> <m:brkbin val="before"> <m:brkbinsub val="--"> <m:smallfrac val="off"> <m:dispdef/> <m:lmargin val="0"> <m:rmargin val="0"> <m:defjc val="centerGroup"> <m:wrapindent val="1440"> <m:intlim val="subSup"> <m:narylim val="undOvr"> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" defunhidewhenused="true" defsemihidden="true" defqformat="false" defpriority="99" latentstylecount="267"> <w:lsdexception locked="false" priority="0" semihidden="false" unhidewhenused="false" qformat="true" name="Normal"> <w:lsdexception locked="false" priority="9" semihidden="false" unhidewhenused="false" qformat="true" name="heading 1"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 2"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 3"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 4"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 5"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 6"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 7"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 8"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 9"> <w:lsdexception locked="false" priority="39" name="toc 1"> <w:lsdexception locked="false" priority="39" name="toc 2"> <w:lsdexception locked="false" priority="39" name="toc 3"> <w:lsdexception locked="false" priority="39" name="toc 4"> <w:lsdexception locked="false" priority="39" name="toc 5"> <w:lsdexception locked="false" priority="39" name="toc 6"> <w:lsdexception locked="false" priority="39" name="toc 7"> <w:lsdexception locked="false" priority="39" name="toc 8"> <w:lsdexception locked="false" priority="39" name="toc 9"> <w:lsdexception locked="false" priority="35" qformat="true" name="caption"> <w:lsdexception locked="false" priority="10" semihidden="false" unhidewhenused="false" qformat="true" name="Title"> <w:lsdexception locked="false" priority="1" name="Default Paragraph Font"> <w:lsdexception locked="false" priority="11" semihidden="false" unhidewhenused="false" qformat="true" name="Subtitle"> <w:lsdexception locked="false" priority="22" semihidden="false" unhidewhenused="false" qformat="true" name="Strong"> <w:lsdexception locked="false" priority="20" semihidden="false" unhidewhenused="false" qformat="true" name="Emphasis"> <w:lsdexception locked="false" priority="59" semihidden="false" unhidewhenused="false" name="Table Grid"> <w:lsdexception locked="false" unhidewhenused="false" name="Placeholder Text"> <w:lsdexception locked="false" priority="1" semihidden="false" unhidewhenused="false" qformat="true" name="No Spacing"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 1"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 1"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 1"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 1"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 1"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 1"> <w:lsdexception locked="false" unhidewhenused="false" name="Revision"> <w:lsdexception locked="false" priority="34" semihidden="false" unhidewhenused="false" qformat="true" name="List Paragraph"> <w:lsdexception locked="false" priority="29" semihidden="false" unhidewhenused="false" qformat="true" name="Quote"> <w:lsdexception locked="false" priority="30" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Quote"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 1"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 1"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 1"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 1"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 1"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 1"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 1"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 1"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 2"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 2"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 2"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 2"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 2"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 2"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 2"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 2"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 2"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 2"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 2"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 2"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 2"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 2"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 3"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 3"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 3"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 3"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 3"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 3"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 3"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 3"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 3"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 3"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 3"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 3"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 3"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 3"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 4"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 4"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 4"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 4"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 4"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 4"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 4"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 4"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 4"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 4"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 4"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 4"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 4"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 4"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 5"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 5"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 5"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 5"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 5"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 5"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 5"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 5"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 5"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 5"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 5"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 5"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 5"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 5"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 6"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 6"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 6"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 6"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 6"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 6"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 6"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 6"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 6"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 6"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 6"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 6"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 6"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 6"> <w:lsdexception locked="false" priority="19" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Emphasis"> <w:lsdexception locked="false" priority="21" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Emphasis"> <w:lsdexception locked="false" priority="31" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Reference"> <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference"> <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal; font-family: arial;"><span style=";font-size:100%;" >We don’t normally spend a lot of time talking a</span><span style=";font-size:100%;" >bout equipment, but we’ve been working with Sony’s XDCAM system fo</span><span style=";font-size:100%;" >r a little over a year, and it deserves a few kind words.<span style=""> </span></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal; font-family: arial;"><span style=";font-size:100%;" > </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal; font-family: arial;"><span style=";font-size:100%;" >XDCAM started as a disc-based field recordi</span><span style=";font-size:100%;" >ng system for standard NTSC.<span style=""> </span>The camcorders now shoot gorgeous HDTV images on discs that u</span><span style=";font-size:100%;" >se technology similar to Blu-ray DVDs.<span style=""> </span>The real difference is that the video is recorded a</span><span style=";font-size:100%;" >s individual files, rather than as a continuous stream on a videotape.<span style=""> </span>Each file is recorded twice; you get both a l</span><span style=";font-size:100%;" >ow-res “proxy” file to view or edit and a high-res HDTV file to finish your program with.</span><span style="font-family: arial;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoN4sWYkPCvCbYdXsmVXXDXcg4-mT8VVLIJZQ_VOHBZWUTF-thpdgJFSP_OKTr-ePcYwGZG4PQxxOLbidRopsjs7toaatUDyfhmUVi1Xfbc_7DtkjlKoaQ0FFPgjROBjMI7XKS63ozxd4/s1600/Red+image.php"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoN4sWYkPCvCbYdXsmVXXDXcg4-mT8VVLIJZQ_VOHBZWUTF-thpdgJFSP_OKTr-ePcYwGZG4PQxxOLbidRopsjs7toaatUDyfhmUVi1Xfbc_7DtkjlKoaQ0FFPgjROBjMI7XKS63ozxd4/s200/Red+image.php" alt="" id="BLOGGER_PHOTO_ID_5548711159815833410" border="0" /></a></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal; font-family: arial;"><span style=";font-size:100%;" > </span></p> <span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" >The proxy files are easy to put on a disc for screening on a </span><span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" >PC, and you can quickly load them into </span><span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" >the Avid for editing.<span style=""> </span>In fact, they load so quickly that it offsets a good b</span><span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" >it of the extra cost of shooting</span><span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" > in HD.<span style=""> </span>As the video is recorded directly on a disc, you have a piece of </span><span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" >physical media with </span><span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" >your </span><span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" >original footage that you can </span><span style="line-height: 115%; font-family: arial;font-family:";font-size:100%;" >keep on your shelf.</span><span style="line-height: 115%; font-family: arial;font-family:";font-size:12pt;" ><span style=""><br /></span></span><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:donotshowrevisions/> <w:donotprintrevisions/> <w:donotshowinsertionsanddeletions/> <w:donotshowpropertychanges/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> <w:splitpgbreakandparamark/> <w:dontvertaligncellwithsp/> <w:dontbreakconstrainedforcedtables/> <w:dontvertalignintxbx/> <w:word11kerningpairs/> <w:cachedcolbalance/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathpr> <m:mathfont val="Cambria Math"> <m:brkbin val="before"> <m:brkbinsub val="--"> <m:smallfrac val="off"> <m:dispdef/> <m:lmargin val="0"> <m:rmargin val="0"> <m:defjc val="centerGroup"> <m:wrapindent val="1440"> <m:intlim val="subSup"> <m:narylim val="undOvr"> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:latentstyles deflockedstate="false" defunhidewhenused="true" defsemihidden="true" defqformat="false" defpriority="99" latentstylecount="267"> <w:lsdexception locked="false" priority="0" semihidden="false" unhidewhenused="false" qformat="true" name="Normal"> <w:lsdexception locked="false" priority="9" semihidden="false" unhidewhenused="false" qformat="true" name="heading 1"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 2"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 3"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 4"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 5"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 6"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 7"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 8"> <w:lsdexception locked="false" priority="9" qformat="true" name="heading 9"> <w:lsdexception locked="false" priority="39" name="toc 1"> <w:lsdexception locked="false" priority="39" name="toc 2"> <w:lsdexception locked="false" priority="39" name="toc 3"> <w:lsdexception locked="false" priority="39" name="toc 4"> <w:lsdexception locked="false" priority="39" name="toc 5"> <w:lsdexception locked="false" priority="39" name="toc 6"> <w:lsdexception locked="false" priority="39" name="toc 7"> <w:lsdexception locked="false" priority="39" name="toc 8"> <w:lsdexception locked="false" priority="39" name="toc 9"> <w:lsdexception locked="false" priority="35" qformat="true" name="caption"> <w:lsdexception locked="false" priority="10" semihidden="false" unhidewhenused="false" qformat="true" name="Title"> <w:lsdexception locked="false" priority="1" name="Default Paragraph Font"> <w:lsdexception locked="false" priority="11" semihidden="false" unhidewhenused="false" qformat="true" name="Subtitle"> <w:lsdexception locked="false" priority="22" semihidden="false" unhidewhenused="false" qformat="true" name="Strong"> <w:lsdexception locked="false" priority="20" semihidden="false" unhidewhenused="false" qformat="true" name="Emphasis"> <w:lsdexception locked="false" priority="59" semihidden="false" unhidewhenused="false" name="Table Grid"> <w:lsdexception locked="false" unhidewhenused="false" name="Placeholder Text"> <w:lsdexception locked="false" priority="1" semihidden="false" unhidewhenused="false" qformat="true" name="No Spacing"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 1"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 1"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 1"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 1"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 1"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 1"> <w:lsdexception locked="false" unhidewhenused="false" name="Revision"> <w:lsdexception locked="false" priority="34" semihidden="false" unhidewhenused="false" qformat="true" name="List Paragraph"> <w:lsdexception locked="false" priority="29" semihidden="false" unhidewhenused="false" qformat="true" name="Quote"> <w:lsdexception locked="false" priority="30" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Quote"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 1"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 1"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 1"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 1"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 1"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 1"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 1"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 1"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 2"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 2"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 2"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 2"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 2"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 2"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 2"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 2"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 2"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 2"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 2"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 2"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 2"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 2"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 3"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 3"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 3"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 3"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 3"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 3"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 3"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 3"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 3"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 3"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 3"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 3"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 3"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 3"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 4"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 4"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 4"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 4"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 4"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 4"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 4"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 4"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 4"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 4"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 4"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 4"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 4"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 4"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 5"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 5"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 5"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 5"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 5"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 5"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 5"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 5"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 5"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 5"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 5"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 5"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 5"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 5"> <w:lsdexception locked="false" priority="60" semihidden="false" unhidewhenused="false" name="Light Shading Accent 6"> <w:lsdexception locked="false" priority="61" semihidden="false" unhidewhenused="false" name="Light List Accent 6"> <w:lsdexception locked="false" priority="62" semihidden="false" unhidewhenused="false" name="Light Grid Accent 6"> <w:lsdexception locked="false" priority="63" semihidden="false" unhidewhenused="false" name="Medium Shading 1 Accent 6"> <w:lsdexception locked="false" priority="64" semihidden="false" unhidewhenused="false" name="Medium Shading 2 Accent 6"> <w:lsdexception locked="false" priority="65" semihidden="false" unhidewhenused="false" name="Medium List 1 Accent 6"> <w:lsdexception locked="false" priority="66" semihidden="false" unhidewhenused="false" name="Medium List 2 Accent 6"> <w:lsdexception locked="false" priority="67" semihidden="false" unhidewhenused="false" name="Medium Grid 1 Accent 6"> <w:lsdexception locked="false" priority="68" semihidden="false" unhidewhenused="false" name="Medium Grid 2 Accent 6"> <w:lsdexception locked="false" priority="69" semihidden="false" unhidewhenused="false" name="Medium Grid 3 Accent 6"> <w:lsdexception locked="false" priority="70" semihidden="false" unhidewhenused="false" name="Dark List Accent 6"> <w:lsdexception locked="false" priority="71" semihidden="false" unhidewhenused="false" name="Colorful Shading Accent 6"> <w:lsdexception locked="false" priority="72" semihidden="false" unhidewhenused="false" name="Colorful List Accent 6"> <w:lsdexception locked="false" priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 6"> <w:lsdexception locked="false" priority="19" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Emphasis"> <w:lsdexception locked="false" priority="21" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Emphasis"> <w:lsdexception locked="false" priority="31" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Reference"> <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference"> <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal; font-family: arial;"><span style="font-size: 12pt;">While this may seem trivial, a lot of digital video is now recorded on reusable memory cards and then transferred to portable hard drives for storage.<span style=""> </span>I’ve never been comfortable with this.<span style=""> </span>It’s not unusual for video to be transferred incorrectly and the mistake not noticed until the original memory cards have been reused.<span style=""> </span>Then you’re out of luck.<span style=""> </span>That won’t happen when you record directly to an XDCAM disc.<span style=""> </span>It’s a much more robust solution.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal; font-family: arial;"><span style="font-size: 12pt;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal; font-family: arial;"><span style="font-size: 12pt;">XDCAM is great for mastering, too.<span style=""> </span>While it’s essential to keep a master copy of each project, videotape masters are obsolete.<span style=""> </span>Our solution is to archive projects on XDCAM discs.<span style=""> </span>Not only do we put a hi-res digital copy of the finished video on the disc, we put all the files related to the project on the same disc:<span style=""> </span>the Avid project file, files for a DVD, a video file for the Internet, raw graphics files, etc. <span style=""> </span>So you have everything you need in one place if you need to change the video down the road.<span style=""> </span></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: arial;"><span style="font-size: 12pt;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; font-family: arial;"><span style="font-size: 12pt;">Over the years, I’ve found that it’s good to be skeptical about the never-ending stream of new formats that come along.<span style=""> </span>XDCAM was worth waiting for.</span></p> <br /><span style="line-height: 115%;font-family:";font-size:12pt;" ><span style=""><br /></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-63087734471346393482010-12-08T10:33:00.000-08:002010-12-08T11:07:24.115-08:00Introducing Budrus, A Powerful Documentary<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi59Yls5DHnQepo3vOIRm88JO_vl5NGO_JCq4efltNCuNc8n-YYaXbTFvoTvR9_d0z0uReRz5wQcJxWdKsKVLruPQJ_HAbXvs9lKoo8qZ2jFVZrsWX7zoSrMucPiDa0dLMk3CHmea_kj5s/s1600/budrus.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 308px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi59Yls5DHnQepo3vOIRm88JO_vl5NGO_JCq4efltNCuNc8n-YYaXbTFvoTvR9_d0z0uReRz5wQcJxWdKsKVLruPQJ_HAbXvs9lKoo8qZ2jFVZrsWX7zoSrMucPiDa0dLMk3CHmea_kj5s/s320/budrus.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5548388348811228050" /></a><u><br /><br /></u><span class="Apple-style-span" style="color: rgb(0, 0, 0); "></span><span class="Apple-style-span" style="color: rgb(0, 0, 0); ">Feature documentaries are difficult to make. They take time, money, an unflagging commitment to work through numerous obstacles and grit. And with all of that, you often run the risk of sinking into a predictable and one-sided conversation on a complex issue. The documentary,<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiHZaUk1H3RheWVqjmnuK_XQCLKjWxp1ABdbPLmclLXzdhBQJWROjx3-tmTgpdJ6WSDvk-SeMDgY8ZNYMvfay7QCiu6qzc7SWxFpuL0tiNhobs8-3SDFw8qYN1nOa5uYESfrMy-_8xVDk/s1600/image.jpg"> "</a></span><a href="http://www.justvision.org/budrus">Budrus</a>" is none of that. It is a compelling portrayal of the power of an idea, namely using non-violent protest to effect change in the war-torn Middle<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizDgvxqyICOjC3amDVCCAINHfGNP1qIZqSIEyiu8Yt_znNRXbTjJ0ZqFcYwtviW8eqxXaDrwcwI8TXRtKBIwediuVrsS1nIevd0njKp8tJziVDnpORI_y-YglanvORW37_bBfTFzl06Uo/s200/julia_0.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 200px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5548387388563163810" /> East. It shows how one person <u>can</u> make a difference. And it is made with the kind of skill that plunges the viewer right in the middle of the action. I found it very moving and informative. It's made by an international organization, <a href="http://www.justvision.org/">Just Vision</a>, dedicated to promoting non-violent solutions. The woman who directed and edited it, <a href="http://www.justvision.org/personnel/julia-bacha">Julia Bacha</a>, was an editor of another great documentary, "<a href="http://www.noujaimfilms.com/controlroom/site/01.html">Control Room</a>," her first film effort. She's very talented and I highly recommend it.Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-82371496095208658672010-11-26T14:49:00.001-08:002010-11-26T16:03:55.737-08:00Fiona Tan at the Sackler<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPexw64ZDsGOs2z76VmrkQedhLraBezlFXJiPuSLyQsRON1lqgR7gqNpYWMvKdTyP4Q3pwsppQ3tGFtssVp5ULCn6_jl3TLQgUIxGcPKj0XhLLPfNBbbVNsuRAo8op2dBS2rgmYFoSkS0/s1600/Fiona-Tan.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 134px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPexw64ZDsGOs2z76VmrkQedhLraBezlFXJiPuSLyQsRON1lqgR7gqNpYWMvKdTyP4Q3pwsppQ3tGFtssVp5ULCn6_jl3TLQgUIxGcPKj0XhLLPfNBbbVNsuRAo8op2dBS2rgmYFoSkS0/s200/Fiona-Tan.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5544000984504367506" /></a><br />There's a fascinating video exhibit at the Smithsonian's Sackler Gallery. <a href="http://www.asia.si.edu/exhibitions/current/RiseAndFall.asp">Fiona Tan: Rise and Fall</a> presents the first major presentation of her work in America. Tan uses video to explore identity, memory, our place in the world and how we might understand and experience another person. <a href="http://www.fionatan.nl/">Fiona Tan</a> was born in Indonesia, grew up in Australia, her father is Chinese and she lives in Amsterdam. Her struggle to understand her own identity is a jumping off point for her art. More to the point, her work is unlike any video presentation we're familiar with. She pushes the realm of portraiture into uncharted territory. Yet her work inspires me to see things differently.<div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCP2BQy0sB0LKOoST0kYSzpkzjFDYWaHQe5JwGQGlItG8ePevtibpxwtmLnvg_rgmaJBHsOUO1wA2-LsCAWPtAMiOjCq7jV8OHwjS7nyV_2T-i2cX-cUgyd-QjripRqMCzxKJqq2oGsM4/s200/ELS2010.6.23a.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 176px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5544001234083237650" /><div><br /></div><div>One piece, Rise and Fall, compares two women, one younger, the other older. They seem to be musing on their lives, on each other. Are they the same person, encountered at two stages of their lives? Is the older woman remembering the past? Or the younger imaging her future? Tan's languid images are striking in their simplicity. She has a wonderful eye for composition, often inspired by the Dutch masters. Each moment unfolds with a sense of mystery, while building a strong connection between the two women. It is quite a meaningful experience, yet no words come between us and the powerful images.</div><div><br /></div><div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU6VmN686BKBuNRJ0Wlc4K59fwWtvLgNVUswcNKUEjNNOuYZQ4YogvU-On7Ff_34rBX0MRW5zKdq5eQq-ADHafGJFTSAvlXSD9lVClzRZl0jO89n8xNe9OS-EFg_5azeWuf0yOi8vs9OA/s200/provce1_kind.jpeg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 112px; height: 160px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5544002093452279074" /></div><div> Another work, Provenance, explores portraiture as a fluid construct. We meet a person; see the artifacts of their life that surround and define them. Again, each person is presented without words, yet the profiles have a surprising sense of intimacy. The images are stylized, feel more like paintings than video, and are an example of her effort to create a new way of capturing identity. </div></div><div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmSBYCAnCsOXQQKGG7h9ezCBtzhYm0K95wr2S4IWjimfb68pUMnPkjKJQYRKE0zhv8dVqDAnG8JcvD99GhOJlHgIX0UrQm8IjOkOWChCbqBOC3FMBePVA2UkRqCz_MmaiIxC1n8ESP7zY/s200/a-lapse-of-memory-4.jpg" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 112px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5544006508381713634" /></div><div>Her pieces reveal themselves slowly, almost hypnotically. Go when you have some time to give to the experience. There are many unexpected pleasures that await. The exhibit runs through Jan. 16th at the <a href="http://www.asia.si.edu/exhibitions/current/RiseAndFall.asp">Sackler Gallery</a>.</div><div><br /></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-55871508566895636482010-11-19T10:01:00.000-08:002010-11-19T10:30:39.068-08:00The Vision Thing<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaAjRoI5peoIC2siRlCm3P8XOOnBm2sIH0UqXUT_K3blyH6GsDgKaH1oNO4hXLX3scYtQWvN_ViYOjaKj-PGKxbIv06z8f_WSRQyr57U4ceZK1lnTfQTPwBpw6WcTWHaau_XTi0mrYn_s/s1600/Brooks_New-articleInline.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 190px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaAjRoI5peoIC2siRlCm3P8XOOnBm2sIH0UqXUT_K3blyH6GsDgKaH1oNO4hXLX3scYtQWvN_ViYOjaKj-PGKxbIv06z8f_WSRQyr57U4ceZK1lnTfQTPwBpw6WcTWHaau_XTi0mrYn_s/s320/Brooks_New-articleInline.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5541325616569998754" /></a><br /><span class="Apple-style-span">Sometimes </span><a href="http://topics.nytimes.com/top/opinion/editorialsandoped/oped/columnists/davidbrooks/index.html?inline=nyt-per"><span class="Apple-style-span">David Brooks</span></a><span class="Apple-style-span"> makes me mad. Other times, I think he's absolutely brilliant. Like other columnists I read, he makes me think. Can't ask for much more than that. And not too long ago he wrote about America's economic future. I liked what he had to say and so I'm sharing it here. His column, "</span><a href="http://www.nytimes.com/2010/11/09/opinion/09brooks.html?ref=davidbrooks"><span class="Apple-style-span">The Crossroads Nation</span></a><span class="Apple-style-span">," appeared in the NYT this November. And he lays out an optimistic vision for what kind of nation we could be. I suggest you read the whole column. But here's an excerpt:</span><div><span class="Apple-style-span"></span><br /><div><span class="Apple-tab-span" style="white-space:pre"> </span><span class="Apple-style-span" style="font-size: small;">"...</span><span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; line-height: 24px; "><span class="Apple-style-span" style="font-size: small;"> economic power in the 21st century is not going to look like economic power in the 20th century. The crucial fact about the new epoch is that creativity needs hubs. Information networks need junction points. The nation that can make itself the crossroads to the world will have tremendous economic and political power."</span></span></div><div><span class="Apple-style-span" style="font-family: georgia, 'times new roman', times, serif; line-height: 24px; "><span class="Apple-style-span" style="font-size: large;"><br /></span></span></div><div><span class="Apple-style-span" style="line-height: 24px; "><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="line-height: normal; font-size: 18px; ">Too often we get so caught up with the issue of the day we lose sight of the big picture. Where are we going and how are we going to get there? </span> I think we'd all like our leaders to spend a little more time developing "that vision thing." Because, w</span></span><span class="Apple-style-span" style="line-height: 24px; "><span class="Apple-style-span" style="font-size: medium;">ithout a road map for where we want to go, we're more likely to stumble around in the wilderness</span></span><span class="Apple-style-span" style="line-height: 24px; "><span class="Apple-style-span" style="font-size: medium;">...</span></span></div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-89824943877910172942010-11-19T09:16:00.001-08:002010-11-19T10:01:12.618-08:00NPR's Tiny Desk Concerts<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpl7xaQiYwYn6fK8iXX6HXkiunfdTmlsbaXsWBRlDnXvDC1rcHIh2NKtzuyH_Lcpj0NmhQlL4euJQ7DevGysns9iLIJVr8v0z2fgF8YZ5niltIpUNw94Vi7FXNrXMsTnLU3dPIo7aF2IA/s1600/seanlennon_wide.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpl7xaQiYwYn6fK8iXX6HXkiunfdTmlsbaXsWBRlDnXvDC1rcHIh2NKtzuyH_Lcpj0NmhQlL4euJQ7DevGysns9iLIJVr8v0z2fgF8YZ5niltIpUNw94Vi7FXNrXMsTnLU3dPIo7aF2IA/s320/seanlennon_wide.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5541317346712893778" /></a><br />Radio's great. You get to paint your own pictures and no place provides a broader canvas than NPR. But not too long ago I stumbled upon their <a href="http://www.npr.org/series/tiny-desk-concerts/">Tiny Desk Concert </a>and loved it. First of all, finding a venue for new music is not easy. The old independent radio stations are pretty much a thing of the past.<div><br /></div><div> Into the breech steps NPR. And not only with music, but with video too. Like this one, featuring <a href="http://www.npr.org/templates/story/story.php?storyId=129980195&ft=1&f=92071316">Lost in the Trees.</a> NPR's concept: bring the performers into a corner of the office, move away the desks to create a little space and shoot it simply, focusing on the music. The resulting performance has a lovely, intimate quality. Watching it, you feel like you're one of the NPR staffers just out of frame, hanging out to listen. And the musical variety is broad and stimulating. You also have a front row view of the performers, you can feel their connection as they play together; see how they listen and play off each other. Really watch the creative process unfold as you listen to their work. Also, because it's an acoustic experience, there are no electronics for the performers to hide behind. And the video makes it clear, it's all about the music. The variety of performers mixes the old with the new. You can <a href="http://www.npr.org/rss/podcast.php?id=510292">link to the series</a>, which started in March of this year. The old ones are <a href="http://www.npr.org/templates/archives/archive.php?thingId=92071316&date=11-19-2010&p=1">archived</a>. A great, innovative use of video for a radio network. And something to brighten your work week. </div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-12556797790566299962010-11-03T10:16:00.000-07:002010-11-03T11:18:36.284-07:00The High Line - Why I Love New York 2<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxbn7GmyQH5AjHhRMTU9VWpy-zyrudVcSMyzZTx27OuXO_oHWyWTHYySlCY5OPfcNmMZ21nYwwQK9ZmV0ff1VDsyppqqWcTRui_TIUZmMMTu3qEsJxasTUMQj0ar1aRoTn_I5tZ2s5AX0/s200/IMG_4176.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 150px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5535379626677322674" /><div style="text-align: center;"><br /></div><br />We walked the <a href="http://www.thehighline.org/">High Line</a> a few weeks ago. It's like the boardwalk with the city playing the part of ocean. All around was the bustle of urban life ebbing and flowing 50 feet below. Yet above the fray we could relax, ponder, sit, observe, chat, view, read, photograph, admireand exclaim in the company of hundreds of fellow city surfers. All of this taking place from an aerial vantage point hovering above the flow. Surrounded by plantings and such elegance of design. Design that incorporates the remnants of its original mission: providing rail freight to the West Side's meat packing and industrial enterprises. And taking fanciful flight, with an amphitheater complete with viewing window of the street, benches that rise right out of the walkway like waves, wooden lounge<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt4oajOxEhFocUQJ9_CqoLEmw3PtNHPyu5poajCVnfeIi5EcauGpPq0CvX8Nk5gJzyMHQII2kVDTjVLqgvm1B5EOS6olpjUj7MXxIS3llSAk9-53eKhcxXQp1fDg02u4flx8sakdlbhyo/s200/IMG_4162.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 188px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5535379612516586786" /> seats that roll on tracks, and a plentitude of artifacts, all preserved in homage to its rail yard past. And an instant creator of community. Am<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRrv2ncn_3lCPCq2KHyAN7AZZ4lIW7fVDUSk8-zXp5C3mFjITH6-flhdP6deAxERZqxXbbT2vSrhBt7j4AsYyEbEq18nKEEZEsfVywTRlhyphenhyphenkQ4QnfEqF1pods86hSLUyjlfG2wPDSFQBA/s200/IMG_4141.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 138px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5535381245211587986" />azing outcome for a project slated for demolition. <div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnz44_qix6GL-uuyY4GDD6tE7t66SIgY5SNmZRTLydGrRL68lseEa32RD9ZFGNRNmOu7L6gRT_vDqCSthADCo2HbrQSJ8e9Tebqgt0RDvdfynLdOI4UA0eDUp9J_5qqBuDQPQl6eEfmc/s200/Picture+3.png" style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px; height: 131px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5535380784240915138" /></div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnBPjRuz8Ju_xcxFh4h5H7wayzOoJLEz3HP4sf6XnfuglXcA-i0vpdTDcKP40PWHQFIZEUcLBgb21TMUu3-pexa2RSn-XVRCWVTS11_bZxVnMIVBbnqRzWNQPrCylCiMvKib4Wt9W1tgA/s200/IMG_4168.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 150px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5535379620442967042" /><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYl11NXk3QWjkG38b4uVmiqXOYEaaRlA5Ise3TfzHRk8bocdEWIvMpSvPVx7liNX7RMEzClJpCzCvxHGgojSRAxotwzBp5jeuMgqfU_abhI3JPNLQJWtjfMYQqD5HF-gMo5-c1f-2JK8/s200/3251566536_22c37b6460_b.jpeg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 146px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5535379611689756130" /><div>These photos may give you a little of the flavor.<a href="http://www.good.is/">Good Magazine'</a>s first issue featured a <a href="http://www.youtube.com/watch?v=fe3rB_5wFvo&feature=player_embedded">video</a> about the High Line's history that is a great background piece. Andthe <a href="http://topics.nytimes.com/top/reference/timestopics/subjects/h/high_line_nyc/index.html?scp=1-spot&sq=the%20high%20line&st=cse">New York Times</a> has a whole section on it in their archives, including slide shows, multimedia and a piece on the people who perform for the high line strollers.</div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com0tag:blogger.com,1999:blog-1001006062681120687.post-82031432942196036752010-11-02T16:17:00.000-07:002010-11-02T19:14:19.727-07:00The Underbelly Project - Why I love New York Pt 1<div style="text-align: center;"><br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPl9A_ACX5zyYrV5CaHcbfHcCRMd-1sx-PESoelwx7gG0emz6cZX4Jzj8d_2ao4-HJgfnkly5pqMGF3Q9J44z7SYLMow3LKEESDEJMpUYMigwSm1eUyjIKCPpxGrHmasEL11txJhWxAoY/s1600/01underbellyspan-articleLarge.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 176px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPl9A_ACX5zyYrV5CaHcbfHcCRMd-1sx-PESoelwx7gG0emz6cZX4Jzj8d_2ao4-HJgfnkly5pqMGF3Q9J44z7SYLMow3LKEESDEJMpUYMigwSm1eUyjIKCPpxGrHmasEL11txJhWxAoY/s320/01underbellyspan-articleLarge.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5535127191014838178" /></a><br />If a tree falls in the forest and no one hears, does it make a sound? If over 100 street artists create intriguing, original work that no one can see, is it there? How about work created in a secret underground location known only to the artists and a select few. A never finished subway station, long abandoned, then rediscovered and tagged with intriguing images, then abandoned to the stuff of urban legend. This is <a href="http://www.nytimes.com/2010/11/01/arts/design/01underbelly.html">The Underbelly Project</a>. And it models a vision right out of the work of <a href="http://www.williamgibsonbooks.com/">William Gibson</a> where part of the plot of the second book in his latest trilogy focuses on virtual art only visible to a select few.<div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY4Zc4pPh1UcaGHf0fzid9FD_AI8iuqh6T9cj0AqXZeKkWzQOF-wwG4zjcnZLZWWrlwyHSULf969t1FPRsvwaW2tlYMkL9tAjqrsKEuLHcKfUwYimBfOL_pFlFT0po6kkyb2Cihxea5gM/s200/spook_country.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 100px; height: 151px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5535135260128902946" /></div><div><br /><div>In <a href="http://theunderbellyproject.com/">The Underbelly Project</a>, an abandoned subway station in the bowels of New York City serves as the exhibit site. And an excellent <a href="http://www.nytimes.com/2010/11/01/arts/design/01underbelly.html">article</a> in the New York Times describes the event and how it came about. The exhibit celebrates the punk sensibility of street art. In another era, it would be the surrealist or the dada sensibility. You could say the process of making the art makes its own statement - it's Art for Art's sake. </div><div> So why am I writing about this? I like the sheer audacity that they did it. I like that two street artist/curators saw the opportunity and went for it. And that 100 artists saw the elegant irony of their vision and went for it, too. That they did it for the fun and exuberance of it. And then to be thrust instantly into the mists of urban legend. And the best work, as you'll see in the <a href="http://www.nytimes.com/slideshow/2010/10/29/arts/design/20101101-underbelly-ss.html?ref=design">slide show</a> and <a href="http://video.nytimes.com/video/2010/10/31/arts/1248069257891/the-underbelly-project.html">video</a> that accompanies the article, conjures the mystery of the unseen and unknown. And in an almost perverse way, it celebrates the vibrancy of America's greatest city. A city where anything seems possible.<div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3YSl0sYL40LLPiovgM5Dz93i4iixjpPzZJV-11yYcajOvZ8l1T12uYCMJk0ILjfBYteem3gPT6Pp_MBIo8otasKt3END8EGwianufBW4_4ZGqQ0s8QYtFF6-h9nwC-8Z22CGH6HHSY9s/s320/UNDERBELLY-popup.jpg" style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 213px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5535127392888998786" /></div></div></div>Dan Baileshttp://www.blogger.com/profile/16209948137640470037noreply@blogger.com1