Myth hackers, Episode 1

What is the number one complaint of iPhone users?  Flash won’t run on it.

Right?

Wrong!

Adobe teamed up with Studio B for a Mythbusters spoof to prove that
Flash does indeed work on the iPhone.  The shoot included a blender, a
steamroller and live explosions (unfortunately, many did not make the
cut)!  Adobe kicked off MAX, their main event of the year with the
video.

We now have Flash on our iPhones and are ready for the next gig with
pyrotechnics☺

Check it out:

Tags: Adobe, Flash, iPhone, MAX, Mythbusters, Video production

Studio B has had the pleasure to work (and laugh with) the Filipino
King of comedy, Rex Navarrete.  Rex decided to celebrate his 20-year
anniversary in the business with a hilarious new DVD.  Studio B shot
four live shows at the San Jose Improv in the end of August and are
currently editing away.  The crew was laughing as hard during the
fourth show as the first!

The DVDs will be on sale by Thanksgiving.

Tags: comedy DVD, comedy show, DVD, HD, Rex Navarrete, Studio B Films, Video production

Studio B got to work with Adobe on another fantastic project for John Mayer’s next music video. We shot him performing his new single “Heartbreak Warfare” for an augmented reality piece that is built by the agency Blitz in LA. We’ll have more details to come once the project is released! In the meantime, here is the link to the Wired Magazine behind the scenes footage from the shoot.

Tags: Augmented Reality, John Mayer, SF, SF Video Production, Studio B Films

Adobe brought Studio B in to create a Mythbusters spoof (Myth Hackers) to explore why the iPhone doesn’t run Adobe Flash. And then they unveiled (at the Adobe Max expo) a new option to use Flash for building stand-alone apps. We did actual explosions on set but mostly the faked ones made the cut. Check out the video here: Adobe Mythhackers.

Tags: Adobe, Comedy, iPhone, SF Video Production, Studio B Films

If you haven’t heard about this event, you should check out this video, and stayed tuned for the exciting results…

This event, the Camera Assessment Series, “the shoot out”, was a chance for the ASC and it’s members, and really all of us in the industry,  to put various, next generation HD cameras side by side, to see what all of these flavors of HD/4K have to offer.  This is the first, truly industry sponsored chance to see the advantages and disadvantages of these cameras and thier post production work flow.

We here at Studio B are anxiously awaiting the results of this test, as two cameras in our inventory were part of this test- The RED ONE and the new Panasonic VARICAM 3700.

I have a good feeling that the 3700 and the RED ONE, both, will stand up next to these other high end cameras.  I believe that these two cameras have something to offer our filmmaking community and industry, besides smaller budgets.  I think these cameras look great and are relatively easy to use, both in the field and in the edit room, especially in comparison to some of these other cameras.  The 3700 can shoot- stand alone- untethered from any external recording device and then the P2 workflow is slick these days.  The Red is very similar, perhaps a bit more difficult to navigate and manipulate, but also eleminates a lot of the combursome set ups of cameras, like the Viper or the D21.

At any rate, all of these cameras have their strong points and thier applications.  They all have the project that is right for them.

We, here at Studio B, are simply pleased to offer at least two of these HIGH END cameras when you shoot with us, or if you are needing that next level rental! Stay tuned for the results of this test and more comments as Studio B gets deeper into this realm of next gen’ HD…

Tags: ASC, Assessment Series, Camera Test, Films, HD, High Def, RED ONE, Rentals, Shoot out, Studio B, Varicam, video

Studio B Films had the good fortune to co-produce (with Peachpit Press) Marty Neumeier’s first DVD entitled, Innovation Workshop: Brand Strategy +Design Thinking =Transformation.  Marty has published three successful books and frequently gives workshops on branding, innovation in the workplace and design.  In condensing the content of three books into one 47-minute DVD, there were many factors to consider – most importantly, how to translate written content to video.

In Innovation Workshop, Marty demonstrates how to make your company more innovative in order to thrive in the new economy. Using memorable principles and simple exercises, he leads the viewer on a lively journey from traditional business thinking to “design” thinking. The DVD is designed to help companies become powerhouses of nonstop innovation.

In the following conversation, Marty Neumeier speaks with Studio B about the process of translating his written content to video.

You have published 3 successful books and use much of the content in a series of workshops.  How was the experience turning your written content into video content?
Overall, I found the process often thrilling and sometimes difficult. I was a video virgin, and I didn’t know WHAT to expect. The part that was most difficult—but most rewarding—was watching myself from the audience’s point of view. Is that how my voice really sounds? Does my hair really look like that from the back? Do people really talk like this way?

Actually, writing the script was the easiest part. I write in a conversational tone anyway, and since I’m a big movie fan, I totally get the concept of storytelling, scenes, pacing, continuity, and so forth. Where I’m weak is acting. You could argue that acting in an educational video is not really acting, but even if your goal is to be yourself, it’s still acting. When you have five or six people hovering around with a quarter million dollars worth of equipment, and the director calls “Action,” being yourself is not an option. You need to somehow translate your written excitement into cinematic excitement.

What was the most surprising aspect of this translation process?
Speaking for myself, I found that it helps to exaggerate the emotional content of a scene. It’s not quite like being on stage, where you need to exaggerate EVERYTHING to connect with an audience, but neither is it like having a conversation with a friend over lunch. I plan to be a tiny bit more “dramatic” on the next one.

What role did Studio B play in helping to translate your ideas to the screen?
Studio B was awesome. They organized the shooting schedule. They kept the work on track. They watched over continuity. They made a lot of smart decisions on the fly, which is hard when you’re shooting out of order and working on a discontinuous schedule. I was impressed with their grasp of filmic nuance. And of course, their production and editing skills are rock solid. My hat’s off to David and Maris, and also to Mary Sweeney of Peachpit.

How do you think the DVD compliments your books?
It’s a useful complement to the books, because it brings them to life with workshop exercises. You can read all the books and get yet another experience from the video. You can actually unpack the 45-minute video to host a one-day workshop for a few dozen people, and come out with usable content for your company or brand.

In your new DVD you stress the importance of innovation within the workplace. This seems like a very timely, especially in the current economic downturn.  How do you see your approach to innovation especially viable in the current competitive marketplace?
Actually, there’s never been a better time for innovation. Business-as-usual is no longer working, so companies and customers are open to radically different products, services, and ways of connecting. The future belongs to people who can let go of preconceptions, reject standard options, and imagine new ways to bring value to people’s lives.

Studio B Films is a Bay-Area production company.  In the last 16 years, we have brought countless videos to life.  We specialize in educational DVDs, corporate videos, marketing videos and PSAs.  Please contact us at: www.studiobfilms.com

Tags: DVD, Marty Neumeier, Peachpit Press, video, Video production

There is an explosion of video on the web. The line between broadcast and online video is blurring as bandwidth rates increase and people increasingly turn to the web for news, social networking and entertainment. Not only is the amount of video on the web expanding daily, the quality is too. And as audiences spend more time (and money) online, the web is swiftly becoming the prime space for media advertising.

Michael Chanover, the Creative Director for Web/Online for the educational toy maker LeapFrog approached Studio B to create a series of innovative online videos showcasing their new product line for their website. The goal of the videos was to show children interacting authentically with the toys. The result was a series of YouTube style videos for the web, or what we called YouGen videos. The videos have been a hit and inspired an ongoing collaboration. LeapFrog has found that parents are more likely to buy products when they not only know how they work, but when they see a child engaged and learning from the toy.

Studio B has produced sizzle and marketing videos for LeapFrog before, but now with their increasing advertising emphasis on the web, they are working on an ongoing series of web videos, Studio B’s specialty. Below you will find an excerpt from a conversation between Studio B producer, Maris Curran and Michael Chanover.

What is LF’s current advertising focus?

Above all, we strive to engage our consumers and tell the “LeapFrog story” in a meaningful way that will resonate with our target demographic. We want to show the magic of LeapFrog products and the value they bring to parents and kids alike. We accomplish this through TV, radio, print, and, increasingly, online communication – with a recent focus on online video content.

How has this focus changed recently with the economic downturn and continual expansion of the web?

Our focus has become much more weighted towards online communications than in the past. The reasons are that a) the Web is, generally speaking, a more efficient communication vehicle, b) the Web offers a great deal of insight and reporting thanks to Web tracking and analytics tools. And perhaps most importantly, c) we are seeing an increasing number of our customers turn toward the Web for product information and communications.

Why did you approach Studio B to produce your online videos?

In looking for a team to help us with our videos, we specifically looked for a group that would be fast, nimble, and effective. While we work closely with several large marketing agencies, we wanted to be a little more hands on with this initiative, and find a partner that would be just that, a partner. Studio B had the perfect skill set, experience, and structure to meet the needs of these projects. Their willingness to problem solve every step of the way, their attention to detail, and their creative vision were instrumental in making these videos a success. We repeatedly engaged Studio B on these projects and continue to enjoy the accolades that we see from our efforts together.

What do you see as the primary advantages of Internet marketing for LF?

The Web is inherently interactive – it allows users to direct their experience in a way that suits their needs. For example, one of the most clicked on links on the leapfrog.com site is the link that allows a user to enter his / her child’s age. Intuitively, it is obvious that the parent of a 2 year-old child is much less interested in products and content for a 6 year-old child. By allowing a user to self-select, we’re giving them much more meaningful information. Lastly, we’re able to exercise agile marketing communication that can be refined in real time. If, for example, we discover that a certain message is resonating with consumers, we can adjust our online creative with that message in a matter of days.

What is particularly appealing about online videos?

As a result of the fast and steady growth in high-speed connections over the last three years, we’re seeing tremendous amounts of interest in video content from our customers. While we are certainly using TV as a medium for these videos, the Web is also an obvious venue with unique benefits. Not only is hosting and serving Web video far less expensive than TV, we have a great deal more insight into how our customers are using the videos. In turn, this allows us to develop the content that our customers are clearly seeking and thereby create a feedback loop and dialog with our customers.

What was your goal with the YouGen videos?

In light of the huge value we see in traditional TV advertising, we wanted to use the Web to tell a somewhat different story, a story that focuses on the experiences of real kids engaging with LeapFrog products. Toward this end, we created a series of very unscripted videos of kids using our products. Some of the actors were the children of our own employees (mine included) who shared a love for LeapFrog and were excited to get in front of a camera. We wanted parents to see the products for what they are, and let the children describe their experiences in their own words.

Are the results from the YouGen videos quantifiable? How successful are they from your point of view?

Not only are the ‘results’ quantifiable, but the overarching impact is too. The response has been overwhelmingly positive from several perspectives. Our Google analytics reports tell us that our videos are among the most trafficked sections of the sites, we know exactly how long our users watch a given video, which videos perform well and which do not, where, within the site, our users go after watching the videos, how many users convert and purchase a product, and more. They garner a great deal of traffic and are often the most viewed piece of content on a given page. Our internal teams, executives included, are very excited about the video content we’ve created. We believe that it does an excellent job of telling the “LeapFrog story” in a very real, compelling, and attainable manner. In addition, we’ve heard consistent praise from our retail partners that our online marketing sites are “best in class” and that we’re leading the pack within our industry around innovative, new ways of telling product stories over the Web. By hosting these videos on their websites, our retailers believe they have yet another way to communicate with their/our customers.

Tags: LeapFrog, marketing videos, online communication, online video, social networking, Studio B Films, YouTube

A few months back Studio B was one of the first places to get the new Letus Ultimate, 35mm DOF Adapter. I think we have serial number 21 –it was fresh out of the oven! And let me tell you, this thing IS fresh! It is the 35mm adapter we have been waiting for. It gives you crisp images, it’s super easy to build out and is extremely user friendly.

Here at Studio B, we tried other brands as well. Between hefty price tags and annoying build-outs, other adapters were often more trouble then they were worth. And as a rental item, the other brands were a mess to deal with. There were too many parts, too many adjustments; my shooters and clients were always calling back with questions and problems.

Finally, engineer, Hein Le, at Letus has nailed it with the design of the Ultimate – it lives up to its name. Of course, all the basic elements are included: it flips the image, it has spinning glass and it delivers images with great depth of field. But what sets the Ultimate apart is its precision engineering and subtle extras that save you so much time and headaches. The adapter has an actual back focus ring, the achromat lens is ground wide so it won’t vignette on wider lenses of new cameras, it has a digital read out for accurately adjusting the spinning glass to shutter speeds and the rail system is straight forward and requires only a 1 size Allen Wrench!

Here at Studio B, I have sent out the Ultimate on an EX1 and the results are simply stunning. I am not going to go as far to say it looks like RED footage or F-35. But for this price point, it makes incredible images.   From my most green young shooter to my most vetran DP’s, they are all reporting that this Letus in indeed the ULTIMATE!

Tags: 35mm, Depth of Field, DOF Adapter, EX1, HVX, Letus, Panasonic, Prosumer, San Francisco, Sony, Studio B Films, Ultimate

We have the new Panasonic Varicam and it rules!   Really, this is the ULTIMATE digital cinema camera…

Almost seven years after the debut of the original groundbreaking Varicam, Panasonic has released a new, and much improved, Varicam – the 3700.  It includes all of the features of the original with the addition of P2 card recording, a new imager and paired with a new 10-bit “Master Quality” codec (AVC-INTRA), this camera is what we’ve all been waiting for.

I have always been a big fan of the old Varicam – it shoots great images.  It always had the most “filmic” look of any “digi-cinema” HD camera without the digital noise of video.  Back in the day, the Varicam made me believe in HD, when I was just starting out in the biz.
We can talk about image quality for days on end and make comparisons to other cameras but, really, do I have to?  Can’t we just agree F-900 looks great, RED looks great and this camera stands up to or stands above these other cameras.

So, to sidestepping comparisons, I want to talk about the other benefits of the 3700, namely the workflow.  It’s the workflow that truly makes me love this camera.  I always hated digitizing tapes; it just took so long and could give you major troubles and headaches – tapes get eaten, aborted ingests because of time code breaks or tapes ingested at the wrong frame rate.  And to make it worse, digitizing required an expensive VTR machine.  Now you can turn this footage around fast, with an inexpensive card reader and three clicks of the mouse.  In Final Cut Pro, which we use here at Studio B, all you need to do is slide your shot cards into the card reader, open up Log and Transfer, choose the clips you want to import – and then hit the button. Walk away for an hour or so, and all of your clips will be sitting in FCP as QuickTime files, ready to edit.

People are often worried about tapeless formats. They worry about archiving and losing footage or just running out of space on a shoot.  All of these are legitimate concerns and can stand for some improvement and streamlining, for sure. But the benefits of tapeless far outweigh these concerns for me.

Just like any tapeless camera, every time you start and stop recording on the 3700, a new clip is created.  So, you have this non-linear recording going on, with each clip treated to its own name and place on the card.  This gives you the option, in the field or when first beginning post-production, to make choices.  You can delete clips or whole strings of clips. It is a good way to stay organized and save a lot of time for you or your editor when pulling selects.  Right there in FCP’s Log and Transfer or in Panasonic’s clip browser you can view clips, rename clips, erase clips or add notes.  If you have a long format shoot or simply a shoot with a lot of takes, you can easily ditch the bad takes.

Many people also are hesitant to go tapeless while shooting documentary work or perhaps while covering a live event.  With this Varicam, you need not worry.  There are five P2 slots, if you fill them with 32gb cards (or soon 64gb 128gb cards) you have hours and hours of time before you need to off load.  But if you really think you’re going to run out of space, the good news is the cards are hot-swappable, so you can trade out shot cards with empty ones without losing a frame.

If you are shooting green screen, this camera is ideal.  The resolution and virtually lossless recording will give you great keys or composite shots. Here at Studio B, we do a great deal of green screen work and since receiving our Varicam 3700 about two months ago, we have done a lot of green screen shoots with it.  When we have brought it back to key and color correct, it has been a breeze, it’s so crisp, there isn’t a lot of clean up to do.

This camera isn’t for every project or for every budget.  But it is THE camera to use for any high-end work or when you want its great ‘film look.’  I recommend it to anyone who has shot with the HDX900 or Sony’s F-900. With Panasonic’s legendary film-like gamma options, “film rec” mode, coupled with a new imager, this camera is sure to uphold the legendary status of the original Varicam.

Make the switch, GO TAPELESS!

Tags: AVC-INTRA, Berkeley, Camera, HD, HPX-3700, P2, Panasonic, Rental, San Francisco, video

Lately, a lot of people have been calling and asking me about the differences between the Sony EX1 and the Panasonic HVX. What are the advantages and disadvantages of these two cameras? What benefits do I get from Sony vs. Panasonic?

This is what I tell ‘em:

It’s certainly not a comparison of apples and apples, but it’s not quite apples and oranges either. The cameras are as similar as they are different. To begin, the Panasonic doesn’t have a great imager, but it records at a high rate (100mb/sec) and has a trusted codec, DVCPRO HD, that’s “known” and used across the industry. The Sony has an amazing Fujinon lens and a fantastic 1080 imager, and although it uses a different logarithm to get to it’s record rate, it is ultimately recording at a lower rate than the Panasonic (35mb/sec). So, the Panasonic records a mediocre image at a high rate and the Sony records a great image at a more crushed rate.

So, where does that leave us? Are they the same? No. No, they are not the same…

Panasonic has been around, P2 has been around, DVCPRO HD has been around. It’s tried and trusted. DVCPRO HD has become, at the very least, the 720p standard and it has a clear foothold in the industry. Many networks and stations work in DVCPRO or DVCPRO HD; and all NLE’s support DVCPRO HD. So, there are general compatibility advantages while working in this format.

On the flip side XDCAM HD, Sony’s codec, is new and there isn’t the broad based support, yet, across the industry. However, Final Cut Pro has full support, along with Avid – you can make XDCAM become whatever format you need for delivery.

Panasonic’s P2 card system started this whole tapeless thing off, and Sony took a long time to catch up, but now they have done it right. The workflow for the EX1 has been nicely streamlined to work with new Macbook Pros and Final Cut directly. If you don’t have a Macbook Pro, you can use a slick card reader on any machine. Panasonic’s workflow is a bit “clunky” still, but works nicely in Final Cut Pro or Avids, just the same.

When deciding between the two cameras, the most important consideration is your project. Your camera selection depends on your comfort level with workflow, your preferences and your familiarity with certain brands. If you worked a lot with the old DVX-100, or other Panasonic cameras, the HVX will be easy to operate and navigate. If you are familiar with Sony gear, then the EX1 is a breeze to use. It’s a matter of preference and familiarity.

At this point, Sony’s EX1 is certainly giving Panasonic’s HVX a run for its money. But I would hesitate to disregard the HVX just yet. If you’re delivering to ABC, ESPN or Disney, the native DVCPRO HD is a great choice, as they operate on 720p and/or DVCPRO HD.

In terms of image quality – again, it is a matter of trading one thing for another. To my eye, and many others agree, that the color sampling of HVX is better. On the HVX, the colors out of the box are more vivid and easy to manipulate. However, with the imager’s resolution being less and a stock lens, the sharpness is reduced on the HVX.

This is where the EX1 comes in. This camera is super crisp and more sensitive to light overall. With its amazing Fujinon lens and its CMOS sensor, it is much sharper than the HVX. But the colors don’t pop quite the same. You can manually get in there on an EX1 and change a lot of this color, changing the matrix and white shading, etc. But for a ProSumer camera it’s not as straight forward, you need to know a bit more about broadcast and about video imaging in general.

Overall, I think both of these cameras have their place and have their purpose. There is an application that is appropriate for both cameras, for sure. The EX1’s workflow is sleek, but manipulating the camera is not as straight forward. The HVX is older and more established, and is a bit more user friendly, but its work flow is not as clean.

This decision is up to you as a camera operator. You have all types of factors – your general preference, the budget, the computer gear and workflow you have available, and your desired final deliverable. I think a general rule is: the EX1 is for those operators familiar to larger broadcast cameras like the F-900 or Digibeta, that need to take it down a notch; while the HVX is for those who are used to shooting with DVX or HDV and need to step it up a notch.

All of these things determine what is right. I wouldn’t say one is better than the other, right now. Talk to me in a year or two and I may have a stronger opinion one way or another. For now, give a call and we’ll have a chat about your project and figure out which is best for you.

Tags: Bay Area, Camera Rental, EX1, HVX200, Panasonic, San Francisco, Sony PMWEX1