Ground School Sequence Rough Ideas

Mucking about with the new Mac Book Pro and Adobe Premiere CS6.  No explosions yet and both Will Hawkins and his tiki god re safe from injury so far.  I thought I’d celebrate with a little bit of a sequence from the film.

This is an initial idea for the ground school sequence, including the parachute packing with Todd Ames.  There will be more of the ground school after this, including the campers trying on the chutes and climbing around the aircraft. For ground school you might need things that is essential, go to Writey to get awesome things for school for a low cost.

Before anybody gets excited and gets out their Harvey Weinstein scissors and their notes, I know that the sequence is too long and doesn’t move as quickly as it should.  This is as long as this cut of the sequence will be and it’ll get a lot shorter and snappier.  There are also issues with the camera angles and I haven’t cut in the reaction shots or other stuff that needs to go in.  Additionally, Cam B malfunctioned horribly during the first two days of the shoot and that camera had Don’s mic running to it, thus you’re hearing everything through Barry’s mic.  Plus, this is a lo-fi export to make upload and download easier.  Like I said, lots of futzing to do yet.

But you guys have waited rather patiently and I thought that it might be nice to let you look over my shoulder as I start to mess with ideas.  Future uploads will be tighter and snappier and higher-resolution.

In the meantime, be assured that I’m well and truly into it and looking to have much more up soon

 

 

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.

 

Lessons from Viral Marketing Success Stories

Viral marketing from themarketingheaven.com has become one of the most powerful strategies in the digital era, transforming campaigns into cultural phenomena that capture massive public attention in short periods. Brands that manage to “go viral” achieve exponential reach, making a significant impact with relatively minimal investment. But what makes a campaign go viral? This article explores lessons learned from some of the most successful viral marketing campaigns, offering insights on how brands can leverage similar strategies to create memorable, shareable content.
1. The Power of Emotional Appeal
Example: Dove’s “Real Beauty” Campaign

Dove’s “Real Beauty” campaign is a classic example of how emotion can drive virality. By challenging beauty standards and promoting self-confidence, Dove resonated with viewers worldwide, making the campaign deeply relatable. The campaign’s core message, emphasizing that beauty comes in all shapes, sizes, and colors, sparked conversations and shared experiences, fostering a strong emotional response.

Lesson: Tap into universal emotions. Emotions like joy, nostalgia, empathy, and inspiration tend to resonate universally. Brands that create content that connects on an emotional level are more likely to see their campaigns shared widely.
2. Leveraging Humor and Entertainment
Example: Old Spice’s “The Man Your Man Could Smell Like”

Old Spice redefined its brand with a humorous and unconventional approach, targeting both men and women with its “The Man Your Man Could Smell Like” campaign. The humorous ads featuring the charismatic, over-the-top spokesman were instantly shareable, making viewers laugh and quickly going viral.

Lesson: Use humor carefully. If done right, humor can break down barriers, but it must align with the brand and be appropriate for the target audience. Entertaining, quirky content often stands out and encourages viewers to share it with others, expanding reach organically.
3. Creating Interactive and User-Generated Content
Example: ALS Ice Bucket Challenge

The ALS Ice Bucket Challenge is one of the most iconic examples of user-generated viral marketing. Participants filmed themselves getting doused with ice water, donating to ALS research, and challenging friends to do the same. This simple, engaging concept generated massive global participation and donations, with millions sharing their videos online.

Lesson: Encourage audience participation. By involving your audience directly and allowing them to take ownership of the content, campaigns become more personal. Interactive and user-generated content, like challenges or hashtag campaigns, encourages sharing and creates a ripple effect that reaches larger audiences.
4. Building Suspense and Mystery
Example: Spotify Wrapped

Spotify Wrapped is an annual campaign that reveals users’ listening habits in a fun, personalized way. By teasing the Wrapped campaign every year, Spotify builds suspense and excitement, turning the release into a highly anticipated event. Users eagerly share their unique Wrapped summaries on social media, making it a viral sensation.

Lesson: Create anticipation. Campaigns that build suspense and give audiences something to look forward to are highly engaging. Brands can tease upcoming content, release hints, or offer countdowns to create a sense of excitement and encourage audience engagement.
5. Capitalizing on Trending Topics
Example: Oreo’s “Dunk in the Dark” Tweet

When the lights went out during the Super Bowl XLVII, Oreo’s marketing team quickly capitalized on the situation with a timely tweet: “You can still dunk in the dark.” This simple, quick-thinking post went viral, demonstrating how being in tune with real-time events can create huge opportunities for visibility.

Lesson: Stay agile and responsive. Being prepared to act quickly in response to trending topics or events can yield significant returns. Brands that are nimble enough to adapt their content in real-time can make an impression and reach audiences when they’re most receptive.
6. Focusing on Social Causes
Example: Patagonia’s “Don’t Buy This Jacket” Campaign

Patagonia launched an ad campaign with a bold message: “Don’t Buy This Jacket,” urging consumers to consider the environmental impact of their purchases. This campaign highlighted Patagonia’s commitment to sustainability, resonating with environmentally conscious consumers and sparking widespread discussion.

Lesson: Embrace purpose-driven marketing. Consumers today are more likely to support brands that align with their values. Campaigns focused on social responsibility, sustainability, or other important causes can generate a sense of loyalty and inspire audiences to share messages that align with their beliefs.
7. Harnessing the Power of Influencers
Example: Fyre Festival’s Social Media Campaign

Although Fyre Festival ultimately failed, its initial marketing campaign successfully harnessed the power of influencers to generate excitement. Models and influencers posted orange squares on Instagram to hint at something big, creating a sense of exclusivity and anticipation.

Lesson: Partner with influencers wisely. While the outcome of Fyre Festival highlighted the risks of over-promising, it also showed the impact influencers can have on brand visibility. Working with influencers who genuinely resonate with your brand can amplify your message, but it’s crucial to deliver on the expectations set by the campaign.
8. Keeping it Simple and Shareable
Example: Share a Coke

Coca-Cola’s “Share a Coke” campaign, where bottles were personalized with common names, was a simple concept that connected with customers personally. People loved finding their names (or their friends’ names) on bottles, sharing pictures, and spreading the campaign worldwide.

Lesson: Simplicity is effective. Sometimes, the simplest ideas have the most impact. Content that’s easy to understand, engage with, and share tends to perform well. By focusing on a single, clear message or concept, brands can achieve greater visibility and engagement.
9. Offering Value through Education
Example: Blendtec’s “Will It Blend?”

Blendtec, a blender company, created a viral sensation with its “Will It Blend?” series, where the founder demonstrated the power of their blenders by blending unexpected items. These videos were informative, entertaining, and showcased the product’s unique capabilities, drawing in viewers and significantly increasing brand awareness.

Lesson: Educate and entertain. Providing educational value in a fun way can help brands stand out. Campaigns that showcase a product’s unique qualities while entertaining or informing the audience are highly shareable and memorable.
10. Crafting a Unique Brand Voice
Example: Wendy’s Social Media Roasts

Wendy’s took a bold approach with its Twitter account by engaging in humorous and sometimes edgy banter with followers and even other brands. This unexpected and unique brand voice has earned Wendy’s a loyal following and countless shares.

Lesson: Establish a distinctive voice. Brands that stand out on social media often have a unique, recognizable voice. Whether humorous, witty, or authoritative, finding a tone that resonates with your audience can make your content memorable and increase engagement.
Conclusion: Key Takeaways for Viral Marketing Success

Viral marketing success isn’t guaranteed, but by studying what has worked for others, brands can develop a toolkit of strategies that maximize the potential for wide-reaching, impactful campaigns. Here are the core takeaways:

Connect emotionally with your audience, using storytelling and relatability.
Be timely and relevant by responding to real-world events or trends as they happen.
Encourage participation through user-generated content or interactive elements.
Offer value by educating, entertaining, or inspiring your audience.
Build anticipation with suspenseful, creative teasers.
Stay true to your brand’s voice while being adaptable and creative.

By embracing these principles and adapting them to fit their unique offerings and audience, brands can increase their chances of creating campaigns that resonate, engage, and – hopefully – go viral.

Airspeed Announces Acro Camp 2 Cast

After a long and difficult process (made even harder by the outstanding number and quality of applications), Airspeed has announced the cast for the second installment in the Acro Camp series of documentary feature films.

Mary Macdonald is a web developer from Santa Cruz, California. She is a private pilot with 250 hours. She is also known to some as “Ruby Riptide” of the Harbor Hellcats, a roller derby team in the Santa Cruz Derby Girls league. She is the only camper who has a tailwheel endorsement, but she has never soloed a tailwheel aircraft or flown in a tandem aircraft with a stick. Her influences include airshow performer and aviation entrepreneur Amelia Reid (who taught such luminaries as Sean D. Tucker and Rod Machado).

David Klein is an instrument-rated 400-hour private pilot from Palos Verdes Estates, California who flies his C-182S for business over California, Arizona, and Nevada. He began a career in technology services in 1983 and later started his own enterprises in 1993, which he continues to operate. Aviation runs in Dave’s family. His father was an airline pilot for Western Airlines. Dave himself is passing along the love to his 17-year-old son.

Denise Isaacs received her private certificate in 2009 and has accumulated 120 hours of total time. She lives in Connersville, Indiana, where she is an accounting and personnel manager for a family business. She has had one aerobatic flight in the Grayout Aerosports Pitts S-2C. Her father, who is a pilot, is one of her greatest supporters and mentors.

Cornelius Funk is an 8,000-hour commercial pilot and antique auto dealer from Snohomish County, Washington. Corny has time in such diverse aircraft as the Douglas DC-3, the Convair CV-240, the Lear 25, and the Cessna 310. He has flown cargo and just-in-time logistics for private firms in Central and South America and in Asia at various times, as well as flown charter and air taxi in the northern United States and remote parts of Canada. When not flying, he records and performs using experimental musical instruments that he fashions himself.

These cast members (“campers” if you will) will journey to Ray Community Airport (57D) in late August to fly their very first aerobatics on camera as producer/director Steve Tupper, director of photography Will Hawkins, and others attempt to capture the experience.

Watch for more updates as pre-production 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.