The Conversion
Distributing magazines and films around the world.
There were many times when I was in the process of making Justice Is Mind I remarked that my experience running a company helped create my first feature film. Producing a film is nothing more than project management and being able to compartmentalize numerous areas of a production. From personnel to the creative, it’s keeping everything in order, on schedule and on (or under) budget.
I can’t tell you how many times I come across filmmakers that are all excited to direct only to see a project fall off the radar in post-production or worse not promoted. When I think about it being a magazine publisher is just like being a filmmaker. Pre-production is the creation of the editorial, production is organizing the editorial around advertising with post-production creating the final product, distribution and promotion. Sounds like a familiar process doesn’t it?
A behind the scenes shot from my latest film Serpentine: The Short Program.
When I was operating my publishing company we were financed on cash flow only after a brief round of investment capital in the first few years. I had to figure out ways to do things that saved money while producing a premium result. I’ve brought this experience to my film work. Back in the day publishing companies would over staff for even the most mundane type of work. No wonder when the financial bottom started to fall out in that industry their top heavy structure caused them to collapse. The same holds true for filmmaking.
Certainly for productions of a substantial budget (like a Star Wars), you need a sizable crew for obvious reasons. But honestly I was on a recent production and was astonished at the ridiculous number of crew they had to film a simple bar scene. First, it was clear that there was no rehearsal. Second, the production of the scene fell on its own weight when the moving of a camera position was a herculean time consuming task. This was not a science fiction production or one that was going to require any special effects in post. This was just a bar scene. I sometimes will go incognito to see how other productions execute. Sometimes I learn things that I take with me, but in the case of this production you learn what not to do (unless you don’t care about a budget).
Directing Vernon Aldershoff in Justice Is Mind.
I think the understanding of small crews came from my experience on set during those early days of publishing when I was frequently interviewed. Sometimes they would come to my office, but I usually would go to a location. Generally, there was just a camera operator, producer/director (who conducted the interview), sound operator and sometimes a gaffer (lighting). On occasion a makeup artist would be present. If there’s anything I learned about being on TV was the importance of makeup. Believe me the horror of seeing yourself on TV without makeup is something you’ll never forget! And with today’s high definition it’s just that, a makeup-less face will overly define everything.
On Friday I picked up the first three VHS tapes I had converted to digital. I have to say I think they came out pretty good. Of course things like this bring back all kinds of memories. It was a different time back then when social media didn’t exist (that wasn’t a bad thing). But when I look back we were always pushing the envelope. Creating targeted direct response commercials that ran during figure skating broadcasts, producing one of a kind themed cruise events and distributing our enthusiast magazines internationally.
If all this sounds familiar with how I produce and market my films, this is where it came from. But one does not execute alone. In all cases it’s about working with a dedicated team that sees your vision.
Next Project.
Even back in 2002 the Russians were protesting. A still shot from the VHS conversion project.
A Present Past
1930 Duesenberg Model J
Yesterday was another exciting Cars & Coffee event at Rosecliff in Newport, RI. While there are many car shows in the region, they don’t have the backdrop and atmosphere of Gilded Age mansions. What’s unique about this show is the range of cars from the classic Volkswagen Beetle to Lamborghini and beyond, this event brings people together from every walk of life.
1910 American Underslung Traveler
After the show I visited the Audrain Automobile Museum to see their latest exhibit – Fun, Fast and Fabulous. While I once owned a pretty fast car (Acura NSX), for me it’s about the fun and the fabulous. This exhibit most certainly did not disappoint! With a 1910 American Underslung Traveler and 1930 Duesenberg Model J, it’s well worth the trip to Newport to see these works of art. Yes, as I saw on their website, the Audrain is more of an art museum that presents classic and contemporary automobiles.
Over the last several weeks I have been on a variety of weekend trips. The one thing that makes the recording of all this possible is the present world we live in – digital photography and filmmaking. Sure, the digital process has been around for many years, but its democratization has made it possible for so many of us to not only preserve history for future generations, but to create some history ourselves.
Case in point I finally located the box of VHS tapes of the numerous TV interviews I made between the early 1990s to early 2000s. This week I start the process of their conversion to digital. This particular time in figure skating no longer exists. It was a time when the sport operated like the bygone days of the movie studios. There were two major companies that literally controlled certain skaters and venues with a few independents that rounded out the industry.
What will I do with all this footage? First, it depends on how well it converts. A variety of articles I’ve read claims the shelf life to be 10-15 years based on numerous factors. But one tape I had from my 1994 appearance on the Montel Williams Show played great. Time will tell how this project concludes.
While there are some filmmakers that harken back to the days of producing on film, the digital process has made it possible from an economic point of view for filmmakers like me and countless others to produce. Gone are the days when this was an industry in the hands of a few with distribution outlets controlled by a literal handful of companies. Now, with the right project, the tools are in all our hands to get the word out.
But getting that word out in today’s digital world is perhaps even more involved than it was ten plus years ago. Why? Because everyone is doing it. The key, in my view, is to have something that people want to share. By nature human beings are social creatures and sharing is what we do. By example these Cars & Coffee events. I discovered this event through a promoted post on Facebook. From there it was an RSVP and sign-up on their email newsletter. The result was bridging the past with the present.
Documentary.
A collection of my TV interviews from the early 1990s to early 2000s. The conversion process begins this week.
The Ashton Times 