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Switching Horses Midstream – Stupidity or the Mother of Invention?

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Most people will tell you that it’s insanity to change machines and editing platforms in the middle of a feature film project, right?  But that’s exactly what I just did.  And I think it’s going to make all the difference.

I’ve been editing the film on a Mac Book Pro that I bought in 2009 or 2010.  It was a state-of-the-art machine at the time, with a 2.8 GHz Intel Core 2 Duo with 4 GB of RAM.  I was running Final Cut Studio 3, which includes Final Cut Pro 7.  But Multi-Cam never actually worked (which is a pain when you have up to four cameras per aircraft) and the spinning beach ball of death (“SBBOD”) or the slowly-crawling render bar spent more time on my screen than is conducive to the creative process.

So I finally decided to drop money I don’t have on a new setup.  And it turns out to have been more than worth it.  The new rig is the current state-of-the-art Mac Book Pro with a 15″ Retina display, additional NVIDIA processing to handle it, 2.6GHz quad-core Intel Core i7 with Turbo Boost up to 3.5GHz, 16GB of 1600MHz memory, and 512GB of PCIe-based flash storage.  It screams as fast as any Mac Book available without Frankenstein mods.

Will Hawkins, the jerk that make me think that I could make a movie in the first place (love you, man!), talked me into getting Adobe Premiere CS6 and migrating to it from FCP 7.  He explained that one can export FCP projects as XML files and then import them with Premiere and that the process is pretty straightforward.  It turns out that he was on the mark as far as I can tell.  The lead image for this post shows one of the flight sequences in FCP 7 on the top and the same sequence in Adobe Premiere on the bottom.  It took me 30 seconds to export the XML from FCP and another 60 seconds to import the sequence into Adobe Premiere.  Nice.

The translation isn’t exact.  But it’s not different in any materially adverse way that I’ve discovered yet.  And I can always go out to Cali and beat Will’s head in with one his own heathen tiki gods if I find out later that there’s some massive discontinuity that I’ve missed.

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Perhaps the biggest advantage of Adobe Premiere is that it displays widely differing video files (MOV from the big cameras, M4V from the GoPros, etc.) without any need to render first.  I can even flip the video from the Pitts hand-hold camera 180 degrees and Premiere just displays it that way – no rendering required.  This is especially important when you’re trying to align someone’s lips with the cockpit audio track and you need smooth video to do it and you don’t want to wait 20 minutes to render enough of it to start making intelligent guesses.  (And then render more of it when you guessed wrong.)  Even if there are discontinuities and I have to develop different workflows, the time that I save rendering and the maintenance of creative momentum might save Will.  And his heathen tiki god.

So here’s what’s up going forward.  I’ve already made XML files out of all of the sequences that I think I’m going to need and tried out a few.  Next, I’ll probably put together a few clips to toss out on Facebook and otherwise so people can see that stuff is moving forward.  After that, I’ll import all of the other sequences and begin putting together pieces of the movie.

AC Logs

Concurrently with that last piece, I need to reserve a weekend and take over the board room at the office and spread out all of the film logs and make some decisions about larger sequences, the overall organization of the film, and what’s going to go where.  I can also start writing some of the narration and figure out what connective tissue I’m going to need.

The new hardware and software were a bullet that I didn’t want to have to bite, but I can already see that they’re essential to the way forward.  Being able to play with the sequences will be essential going forward and I have the tools to really move forward with that process.

 

Head-Down and Editing

Steve checks in . . .

The holidays are over.  The tax year is over.  The December deal-rush at the office is over.  Time to go head-down again on the film!

Sequences are beginning to come together.  And I’m reviewing some of the older sequences and realizing that I’m going to need to cut rather savagely to keep the pacing.  During principal photography, every moment looked precious in the viewfinder.  And, frankly, most of them were.  But I’m supposed to be more pro now and really boil down the story to its essence so we get a movie that even non-pilots will like.

It’s kind of interesting, having watched a lot of documentaries over the last couple of years and begun to develop my own sensibilities about pacing and other elements.  I purposely watched a number of documentaries about topics in which I was only tangentially interested to try to get a sense of how someone outside the core audience would feel about the edit.  I watched Game Over: Kasparov and the Machine (chess) this weekend and, earlier this year, stuff like Special When Lit (pinball) , Big Rig (truckers), and Indie Game (video game developers).  Game Over was way too slow and discontinuous.  Big Rig didn’t do anything to make me care about the drivers.  Indie Game was great because it was well-paced and I cared about the protagonists, even though I don’t give a hoot about video games.

I need to cut.  But this is the fun part.  And I’m having fun.  It’ll get hard again soon, I’m sure, but I’m actually stitching stuff together that’s really beginning to look like a movie and I can see where it’s going.

*****

Quick update on the Studio 360 thing.  If you listen to the show that aired this past weekend (featuring Culture Shock 1913), the teaser for next week says that the show will feature some of those who have a project to complete in 2013.  The teaser has audio snippets from some of those who called in to talk about their projects.  The last voice?  The one that says “. . . and I’m resolving to get it done in 2013?”  That’s your humble producer/director/editor/bottle-washer!  It’s from the pitch that I made a week or so ago.  No idea whether the show will include anything about Acro Camp.  It seems like the featured folks would be interviewed, the show drops on Friday, and I haven’t received a call.  But who knows?  I really respect the show and it even inspired me to make a run at a MacDowell fellowship.  Any mention – a piece of the recorded pitch, an interview, whatever – would be great.  And no mention at all is also fine.  But it’s perfectly fine to be as pumped as I am to have spent two seconds in the ears of the Studio 360 audience.    Fanboy?  Yeah, I admit it.

 

Frequently Asked Questions about Acro Camp

Acro Camp Cast Members

[Updated 1 January 2013]

What is the status of the films? How are you coming along?

Acro Camp (the first film):

The soundtrack is finalized. Many thanks to all of you who contributed your musical talents!

The film itself is in post-production. All of the ground footage is logged. We’ve completed maneuver logs for all of the 41 sorties and fully assembled and logged all video and audio for about 95% of them. We have eight airshow performer cameos complete and ready to drop in. The sequence from the IAC Michigan Aerobatic Open with the Dave Scott commentary is done. The ground school segment (with the parachute packing) is essentially done. The storyboard is up and running, as is the BAPP (the big-ass piece of paper), which consolidates all of the flights on a timeline and identifies flights in which we can synch stuff that happened in two different aircraft at the same time. The “Smoke on the Weaver” sequence is done.  Sneak peeks are available here and here. There’s a bit of the “making of” featurette about the music here.

Once we complete assembling and logging the remaining sorties, it will remain only to assemble what we’ve logged into a cogent story and then write and record the narration (to be done by Steve Tupper). The final editing should go reasonably quickly and be a lot like snapping the pieces together.

Ray: Another Acro Camp (the second film):

Principal photography wrapped on August od 2011. All of the footage (except for some additional B-roll and possibly some airshow performer cameos) is in the can. Other than carving out some footage for Will Hawkins to use in A Pilot’s Story, we’re leaving the footage alone until we finish editing the first film

When will the film be out?

We haven’t set a date. We’re editing furiously. We hate making promises that we can’t keep.  We’ll let you know soon!

Are you taking pre-orders?

No, not yet. We probably won’t take any pre-orders until we actually pull the trigger for DVD duplication. We don’t want to be in a position of holding people’s money until we know for sure that we have a film to sell.  (But then we’ll hold as much of it as you care to send us!)

Where can I see the film when it comes out?

If, by that, you mean a movie theater, we have no idea. There’s no plan for a theatrical release. And it’s unlikely that we’ll get a distribution deal that will put the film in theaters. We’ll be submitting the film to several festivals (SXSW and the Traverse City Film Festival are already on our list) and we might rent a place to have the premier, but it seems unlikely that you’ll see the film on the big screen.

Primary distribution will be on DVD. We also plan to make it available online through iTunes and other digital outlets. We watched with much interest as Louis C.K. distributed his Live at the Beacon Theater by means of non-DRM digital downloads. We might try something like that, too.  That said, we also read (and re-read) the Red State Parts 1, 2, and 3 parts of Kevin Smith‘s book, Tough Sh*t and that got us pretty excited, too.

Where will I be able to buy the DVDs when they become available?

We’re going to push like heck to sell them directly right here on the website. Margin is everything and there’s a precipitous drop-off as soon as you get a middle-man involved. We’re going to sell as many copies as we can directly in the early going to capture the sales to our friends and followers that are based on our pre-existing relationships. They we’ll go out to other distribution channels on the assumption that they’ll be earning their margins by reaching folks that we haven’t reached by then.

We’ll also plan to be at the major fly-ins with a booth for a year or so after the initial release. We’ll probably share a booth with the guys from A Pilot’s Story and/or other independent aviation filmmakers.

Do you need any help?

Not necessarily with editing or post. It’s going slowly, but it’s moving along.

If you happen to have a massive and powerful Mac that you want to lend us for a few months, that would be cool. E-mail us with your ideas.

If you happen to work for a company that makes massive Mac-compatible hard-drive arrays and want to throw a few our way, that’s be great, too!

We will likely want help with access to aviation groups and opportunities to screen the film in various locations around the country (at which we’ll also want to sell copies of the DVD). If you’re interested in hosting a screening and can be our advance crew (securing venue, getting people there, etc.), we’ll be sure to show up and do a compelling Q&A for your audience and otherwise knock ourselves out to show you how much we appreciate your excitement about the project. E-mail us with your contact information so that we can add you to our list of contacts for that kind of thing.

Once the first movie comes out, we’ll probably post another request to help out with the music for the second installment. It’ll probably be much like the way in which we crowdsourced Acro Grass for the first film.

Do you need money or want investors?

Not at this time. We’ve managed to bootstrap the whole thing thus far and it appears that we’ll be able to get the first film to market with the funds we have. Thanks for asking, though!

Are you going to shoot another one? If so, when?

We have two in the can and we’re probably already a little ahead of ourselves. We won’t really think about a third until after the first one is out and it becomes clear that it makes financial sense to complete the second one.

If there’s a third, we’re thinking about such things as bringing back one or two of the campers from the first film, holding the camp during the week before an IAC contest and making the contest the finale of the film, and similar kinds of things. At the moment, though, it’s all fantasy and speculation. We’re head-down and trying to get the first one out.

It sure is taking a long time to get the first one out . . .

Yep, you’re right. We’re as blue about that as anyone. It’s a slow process and, at the moment, there’s one guy working on it. This has always been a shoestring project that has to take a back seat to primary income-generating activities, family, and other elements of life. If you note the time hacks on most of Tupper’s Twitter and Facebook posts and the Acro Camp Twitter account, you’ll note how many of them are between the hours of 2100 and 0200 local in Detroit. Please simply be assured that we’re going as fast as we can and we want to see this movie just as badly as you do.

Would a big pile of money make this thing happen any faster?

Sure. It might even make it better. But it would also scare the hell out of us. We really think we have a great little movie here. But we’re doing our level best to keep expectations low and reasonable and keep the pressure off. We already feel a huge amount of pressure to deliver a movie after so many people came out to help us shoot the movie, all for no pay other than airfare, hotel, some beer, and a diet of midwestern starch. Yeah, a pile of money would make things go faster, but we’d be working with that dread in the back of our minds that the thing wouldn’t earn out the pile of money. Better to keep this cottage-like and see what happens.

If the first one turns out bat-sh*t huge and we make a pile of money, we’ll be the first to sink a lot of that into some faster computers and other stuff that. But, at that point, we’ll be spending our own money, so the pressure thing won’t be any larger than it already is for the first film.

How can I go get an experience like the Acro Camp campers had?

If the first film is successful, we might franchise the experience and set up an Acro Camp program at one or more flight schools here in the United States.  Stay tuned about that idea.

Otherwise, think about calling around your own home airport and seeing what aerobatic training is available.  Steve started this whole thing by simply getting out and flying aerobatics with Barry and then with Don.  You might even consider getting some friends together to go have a common experience at an acro school.  One in particular that I’ve always wanted to attend is Greg Koontz’s Bed and Breakfast called the Sky Country Lodge.

Who the hell is this Steve Tupper guy?

Steve is a suburb-dwelling lawyer and pilot.  Seven years ago, he decided that he wanted a ride in an F-16 fighter jet.  He figured that starting up a podcast might be a good way to garner a media presence big enough to get him a media ride with the Thunderbirds.  He got that ride (and he has 1.0 of dual instruction in his logbook to prove it).  And he’s kept the podcast going through more than 200 episodes, covering every corner of aviation and aerospace and experiencing much of it firsthand.

In 2009, Steve hatched the idea of putting together a movie.  Pro-sumer cameras had reached the level at which any idiot with $10,000 could shoot a reasonably decent feature film.  And Steve is exactly that kind of idiot.  Acro Camp is Steve’s experiment in independent filmmaking.  Can a ragtag yet intrepid fellowship of new-media and social-media personalities and pilots make a movie that people will want to watch?  There’s only one way to find out and that’s what Steve is doing.

There’s additional information about Steve and his podcast in FAQ form over at the website of his podcast, Airspeed.

 

A Taste of The Fun Part

Okay, I couldn’t resist. I put a couple of angles of a flight up in side-by-side frames and loosely synced them by hitting the start buttons at the appropriate times. Then I watched for a few minutes.
Suddenly, instead of gritty, disjointed, insider-only raw material, it looks like something that might soon actually be cinematic. It’s pretty. The sun wanders over the fuselage. Your eye gets drawn from angle to angle as the aircraft banks rolls or pitches. Oh, man, am I getting excited.
I’m still in the very early stages of editing. In fact, not even editing yet. Just cataloging and indexing and figuring out what I have. Call it Phase 1.
Once I get that done, I’ll assemble the video from all of the cameras (usually two or three per flight) along with the audio into multiclips in Final Cut Pro. That way, I can experience all of the multiple camera angles and the audio at once and actually figure out what I like and what the story is. Call That Phase 2.
Phase 3 is still a way off. That’s where the parts come together and get dropped into a timeline and actually assembled into a movie.
I think that the amount of fun is only going to increase as this thing goes on. Not that I’m not having fun right now, but I can’t wait to get to the later phases and really movie a movie out of this. It’s going to take pallets of Sugar Free Red Bull to make it happen, but I’m completely up for that.
And I guess there’s this, too: I see and hear stuff in this footage and in the music running through my head that is completely and utterly satisfying. Moments of beauty and truth. Not the bullshit rhetorical kind. No, these are things that happen when you fly that you can’t experience adequately because you’re too busy flying, but that are nevertheless there. Stuff that’s so beautiful, it hurts. And I get to see it in slow motion or from multiple angles and say, “Look! This matters! Pay attention to this! Now that! Now listen to this! Now shout!” And I get to capture it and show it to myself in a cogent way. Herein, ladies and gentlemen, I rationalize and make real to myself things that I’ve felt since I first read Sabre Jet Ace when I was six.
I suspect that you will like my movie. But it’s no longer essential that you do. It’s enough for me to do what I’m doing. I’ve heard people say that this mindset is the proper mental space in which to make things like this movie. If so, great. But great even if not.
The journey continues . . .

Acro Camp Production Outtakes – Surfing the Pitts Breeze

Here’s footage from the Hero cam on the Pitts moments after startup. First Barry, then Steve, then Rod decide to surf the prop blast of the Pitts. This is from Saturday 15 May, Day 2 of flying.


Acro Camp Cameos

As fun as going through the actual Acro Camp footage can be, I needed a break from it this evening. So I started going through some of the footage that I shot at various airshows this summer. I wanted to get footage of a number of professional aerobatic pilots so that I could intersperse them throughout the film as cameos at appropriate moments.
As I’ve gone through them, I’ve become pretty excited about some of the interviews and other footage that I’ve captured. Everything from the Pitts S-2C to the A-10 to the F-22. Here, to whet your appetite, are a few frame grabs that I captured.
This just gets better and better as I build the film in my mind. It’s really beginning to come together.






The Most Fun Ever Had by a Human

I’ve been working my way through the footage from Friday 14 May, the first real day of flying for Acro Camp. I’ve been working mostly with the wing-mounted and other exterior camera footage over the last week. But, this evening, I began going through some of the footage from the in-cockpit cameras as well.
I’ve decided that no human has ever had more fun flying aerobatics (or doing anything else) than Paul Berliner. I could tell that he was smiling from the wing cam footage, but the in-cockpit cameras really tell the story. There are even times that I can hear min shouting over the engine noise on the ContourHD camera (and I don’t have the intercom audio synched up yet, so it’s strictly ambient sound for now). The frame grab above is Paul’s reaction to his very first loop. I think they heard about it in the tower back at Pontiac. Without the need for the radio.
It turns out that Paul has a G-face as well. In fact, I think it’s the same as his zero-G face. Here’s he’s pulling up for his second loop. Paul pulls a little less hard on the loops than Jim, but not much less. He got nice round shapes out of the loops that he did. I can’t tell whether Barry’s helping, but I suspect that it’s mostly Paul.
Michelle also got up at the end of the day for some pattern work in the Citabria. I discovered some issues with the ContourHD shutter artifacting when the prop shadow falls across the pilot’s face. It’s a little like skinny horizontal Venetian blinds. But it’s almost worth it when you get sun angles like this one.
I’m still having a good time with the extent to which the IPs seem to pay attention to the camera. Here, Barry gives a thumbs-up just before taxiing.
I understand that there were some pretty good conversations in the cockpit, as well, and I’m just beginning to get around to going through the intercom audio. I think I’ll do that once I get it synched up with the video. I’ll put together a multiclip for each flight and then watch each flight all the way though one camera angle at a time. It’ll be time-consuming, but it’s really the only way to get the whole story and identify all of the most interesting/compelling/beautiful moments.

The Tech Frame

Going through all of this footage, one of the things that strikes me is an element that you probably won’t see in the film. It’s the first frame of most of the sequences shot by the airborne cameras. It’s almost invariably one of the crew staring into the camera at the moment he pushes the button to start up the camera. It could be me. Or Roger Bishop. Or Will Hawkins. Or David Allen. Or even one of the Acro Camp IPs.

The shot above is from a quick camera test in the hangar. Roger and I were configuring a GoPro HD Hero to go hang on an aircraft. Probably checking video settings and making sure that the camera liked the SD card that we’d put in it.
Most of the time, the first frame is one of us either leaning into the front cockpit or standing there next to the wing strut, sometimes with the prop turning. It’s lighter or darker out. It’s this or that aircraft. We’re more or less tired-looking. We’re more or less anxious to get the camera on and the flight launched. But, in every case, it’s a testament to the commitment and dedication of this crew.
Somewhere in the DVD extras, I’d like to do a string of the first three seconds of all of the Hero cam sequences. Or maybe use that for the menu background. And I’d like to take a series of first frames and use that for a border on the packaging. Technology in everything we use is increasing, that is an inevitable fact, many of us (including myself) still use telephony as a means to communicate with our contacts, today the best idea I have come up with is to use VoIP and SIP telephony.
This to me is a series of artifacts of the amazing amount of effort that everyone put into the film. Especially the techs. 18 or 22 -hour days. Constant technical challenges. Unpredictable sortie timing. Two or three aircraft out there on the ramp that might launch at any time. And getting all of this stuff safely offloaded onto hard drives.
And the quality of the people who gravitated to this project. Unreal. Can you believe that Roger Bishop took time out to come up and help out with this? Or that Will Hawkins jumped in to be DP? Or that David Allen, the most enthusiastic guy in all of general aviation, poured heart, soul, blood, and bile into this like he did?
In case you were wondering, the luckiest schmuck in all of aviation, filmmaking, and many other endeavors is the guy sitting at this keyboard right now. Holy shit, did we do a wonderful and special thing last month!

Principal Photography Is a Wrap!


Have you seen us lately? Wow! Neither have we. That was a pretty intense week. But we’re proud to tell you that principal photography of Acro Camp wrapped yesterday afternoon.

I haven’t tallied up the sorties or hours or other information, but we captured a really broad range of subject matter, emotion, perspectives, and drama. All four campers performed amazingly. Each surprised him- or herself and the IPs in many ways. The acro was amazing. And, unexpectedly, we several of the campers got in solo tailwheel flights.

The ground school was outstanding. Don and Barry walked everyone through the local geography, safety considerations, how to use the safety systems, how to get into (and out of) the aircraft, and what to expect on the acro sorties.


The film crew was unbelievable. We ran this thing really lean. Crew at any one time ranged from two to five. We were up in the pre-dawn most of the time and rarely hit the rack before midnight. Whatever it took so get the video in and downloaded and everything ready for the next day.


Anyway, this evening, it’s more backup and extracting video from the shoot and starting to think about the editing process. Once we have all of the footage saved in at least two places and secure, it’s time to start watching it and extracting story lines. And there’s the music and other stuff to compose and record. We don’t yet have any solid idea of when we’re thinking that the thing will be out. The best we can say at the moment is that it’s more than one Christmas away but less than two Christmases away.

Thanks again for your support and well wishes. You don’t work this hard for this long without having a lot of encouragement from folks like you. We really appreciate it.

Now it’s time to crash on the couch and get such sleep as it necessary to be able to see clearly to do the editing.

Invertor et vomens! Smoke on!