[Timothy J. allen]

I spent today with the STS-121 crew and I let them know that you guys liked the footage. Hopefully we can maintain or even improve upon that level of clarity for every mission from this point on.

Thanks for the kudos. I know that our engineers and videographers certainly appreciate it.

-Tim

[Timothy J. allen]

I think we have all of the footage that was broadcasted converted from the original film to HD. I’m in L.A. at the X Games right now, but let me check into this stuff next week when I get back to Houston.

Speaking of the X games, we have a few sports-related 1-minute long education videos that explore the concepts of physics by asking questions such as “What would extreme sports look like on the moon?” The hope is that they will serve as a jumping off point for kids so they might want to learn more about math and science.

They are on the main NASA web page https://www.nasa.gov and at https://brainbites.nasa.gov

We did them very quickly with a limited crew, since most of my team is focusing on the next shuttle mission, but we wanted to go ahead and release them while the X games were going on.

Anyway, they were fun to work on and I hope to go back in a couple of weeks and tweak them. 😉 (I didn’t mean to switch subjects, but that’s the project on my mind right now.)

-Tim

[Timothy J. allen]

I’m glad you liked it! It’s always tough to get clear shots from cameras in that kind of environment. I’ve got to give credit a whole bunch of people for those views – people at Marshall, Kennedy and Johnson Space Centers.

For those who didn’t catch it off of the satellite, I’m sure will replay it on NASA TV again soon.

[Timothy J. allen]

Wel said, promoboy! I want you on my team. 😉

As an editor turned producer, let me weigh in from a producer’s perspective…

I like working with Editors that offer their own ideas. I love to work with Editors that can “show me” their ideas. I really love working with editors that can show me their ideas quickly.

I do not like working with Editors that argue without offering solutions. I really do not like working with Editors that sit on their hands because they don’t know how to use the features of their tools and equipment very well.

There are different types of producers, and I suppose that there is a “middle ground” here. Some Producers don’t offer enough guidance to their Editors and some offer too little. You could say the same with Editors and their contributions. It’s different with every relationship.

In my mind, the best edit sessions bring out the best talents of both the producer and the editor. There is an genuine exchange of ideas and mutual trust that works to make the final program better.

That exchange of ideas does not absolve my responsibility as a producer to make clear decisions and give clear direction that will guide the editor to creating a final product that makes the client happy, but if I trust the editor, and feel that they understand the purpose of the video, I’m pretty quick to take their suggestions.

BUt I guess that just like there are different types of producers, there are also different types of editors. If for instance, an editor sits on his or her hands and refuses to be anything but a button pusher, unfortunately I have to adjust accordingly… and I end up only expecting to get exactly what I spell out – nothing more nothing less. I sometimes wish that that type of editor would realize that it’s their own attitude that limits their input into the product.

My ideas on how to treat an editor are very similar to my old boss’s ideas about how to lead his teams. I’ll post those ideas in another thread to see what you guys think.

-TJA

[Timothy J. allen]

As someone who requests proposals for government video related services, I can tell you not to lose sleep over that one.

If they were serious about finding a good bid, they would be happy to talk with you more about the scope of the project, or pass you along to someone who could supply you with more details. Rather than looking for real bids, this guy was just finding the lazy way to “check the boxes”.

Timothy Allen

[Timothy J. allen]

I’ve seen plenty of shows that break things up by having graphic “icons” and elements that roll along with the credits and in between them. Instead of just putting each name and title on a line, try building whole “pictures” that incorporate the names and linking them together vertically with graphic elements that tie them together.

I don’t know what your program is about, but let’s say it was about fishing…

The “Producers credit” could be on the bow of a fishing boat (like it’s the name of the boat). Move into the boat and the tackle box opens and the directors name is printed on the inside lid of the box. A lure could have another credit printed on it. Follow the fishing line down through the water and you could pass all sorts of things that allow for “iconic” placement of the credits. (Seaweed could spell out a name, a fish could have a name on it, someone names could be drawn in the mud at the bottom of the lake. etc. etc.

Granted, you may not have the budget for something like this, but you don’t have to do it for every name on the credit list, as you move down the list you can have groups of names on objects and eventually you might just have simple names appear, as long as they still follow the theme.

You could go simpler and just go with type styles that incorporate a few letters that incorporate pictures (even “clip art” styles) instead of just plain fonts. (For instance a “J” could be a fishing hook, an “S” could be a worm. etc. etc.

If you show is about music, do the same thing with instruments, if it’s about baseball, do it with baseball gear, bases, bats, scoreboard etc. etc.

I’m sure others here can think of other examples of what I’m talking about.

-TJA

[Timothy J. allen]

Stick with Mini DV for now. It’s got enough of a base to last for a while.

…But then again, I went with VHS-C for my home camcorder about 6 months before DV hit the market in the 90’s… so take my advice for what it’s worth. 😉

-TJA

[Timothy J. allen]

I’m glad to see that it’s working out for you once the mom realized you were a legitimate photographer.

Having been on both sides of this issue, I agree that it’s important to get releases. Of course, in this case the children were not at the age where their signature would have carried any legal weight – technically, you would have had to get their legal guardian’s permission to shoot them if it’s recognizable. (It sounds like that was eventually done by the producers, which is good since that responsibility is ultimately theirs anyway.)

But you all can see the flip side, right? If a “stranger” was taping your kid while they played at the park and you found out about it after the fact, wouldn’t you want to know more about what was really going on? As a parent, I know I would, and since I know the law (generally), I wouldn’t hesitate to cite it chapter and verse to the videographer and producers. If they weren’t VERY responsive to my inquiries, I’d wouldn’t hesitate to bring the police into it. It’s my kids safety on the line (Even if it’s a question of perception, I’d rather be on the safe side.)

The lesson here is to be open with people about what you are taping and why you are taping it. If they don’t want to participate (and sign a release) ask them (or at worst case… pay them) to get out of the shot.

Giving them your card may have caused you a headache, but trust me that it was the correct and ethical move. If I confronted a videographer about taping my kids and they wouldn’t give me contact info I’d find it anyway.

You did the right thing by following through.

-Tim

[Timothy J. allen]

Another good one, if you are looking for getting a good grounding in the basic concepts of color grading, is Video Color Correction for Non-Linear Editors: A Step-by-Step Guide, by Stuart Blake Jones.

It has step by step instructions for basic and secondary color correction techniques using the most common NLEs. The companion CD-ROM is also useful.

It has “real world” examples of common color grading issues and the step by step instructions of how to tackle the problem using the built-in tools that come with Avid, Final Cut Pro, etc.

-TJA

[Timothy J. allen]

Charlie!!!
I was kicking myself as soon as I got back from Houston and realized I hadn’t called you or Frank Otto while I was in Vegas. To put it mildly, I was swamped and didn’t think of much else but the NATPE show while I was there. I didn’t even make it North past the Excalibur where I was staying (with the minor exception of a quick trip to the M&M store for my kids.)

Next time Las Vegas is in my travel plans, I’ll make sure to look you up.

…and the next time you come to Houston, please let me know. There are plenty of good Mexican restaurants near Johnson Space Center, and I’d love to treat you to lunch and a personal tour of our facilities (both TV production and astronaut training.)

-TJA