: Kylee Peña's Blog
Here's a hot tip I've been chewing on for a while, especially for younger editors:
If someone offers to speak with you about your career -- a coffee meeting, an email, an informational interview, anything -- follow up with them.
If someone hands you their business card and says "stay in touch", do it.
Because you know what? In my experience, almost nobody does it.
Over the last few years, I've grown a lot as an editor and I've gotten some good experience so far. But I'm still close enough to college graduates in age that I think my experience in today's economy is relevant to them, so I try to give back as often as I can. I've done workshops, panels, small group mentoring in high schools, Twitter chats, and networking events. If I talk to someone at length trying to break into the industry and they
express interest in continuing the conversation, I will always give them my card and an open invitation to contact me.
You know how many of them actually email me? Like two out of a hundred is being generous.
(That's out of people that have asked me to continue the conversation. Whenever I make a presentation to a class or group of younger people, I always post my email address at the end with an open invitation to follow up -- I'm not counting these, but if I were it would make the number more like two out of four hundred.)
Heres the thing: if you ask someone for help and they say "yes, here, contact me", follow up with them. If you're in college and a professor you like has office hours, go for a visit. If a company invites you to shadow an editor or do an informational interview, set up an appointment.
If someone says sure, bother me all you want? BOTHER THEM. You should be trying to make as many contacts as you can, an that includes "bothering" people who haven't
offered you their time outright. What chance do you have at making connections if you aren't even taking the free space in the middle of the board?
This is important: there will be people who are blowing smoke and don't actually have the time or interest in meeting with you. That's okay. There are plenty of others that can make the time and have the interest, because different levels of mentorship are mutually beneficial.
I often learn just as much about the industry when I talk to younger people as they might be learning from me.
I've been where young editors probably are: too much work, too little pay. Maybe trying to balance classes and internships and work and a shred of a social life. I've been handed a business card with an open offer to communicate. I've let it slip because I didn't have time or I didn't think they really
had the interest. I've potentially left a lot of opportunities on the table because I couldn't put aside a few minutes to throw an email at someone who already welcomed me to do so.
Keep track of your contacts and follow up
. If someone is opening up their busy schedule to potentially share their knowledge and connections with you, for the love of everything, respond. If they get kind of wobbly in the response, keep bugging them. After all, they started it.
Everybody tells you to network and meet people. The part that comes after -- where you actually start to make the real connection -- is the part that will help make you successful.
This week, I've seen maybe a dozen articles about "Millennials". What do they want? Why aren't they buying houses? What brands do they like? Why don't they vote? What's their favorite color? They're mostly all written by people from the Baby Boomer generation, and they're mostly filled with generalizations and assumptions like "all Millennials care about is texting each other." Seriously, that was a comment. Not even a clever burn. Like offensively non-clever
First, a definition: Millennials are people born between 1983 and 2003, give or take some years depending on who you ask. To define a generation does sound a little generalize-y on the surface, but people born during this span of time do have a lot of things in common: they're typically more open-minded about social issues, they marry and have children much later (if at all), they're less likely to be religious, they have more student loan debt than any generation before, and they're described as liberal do-gooders by some and self-entitled narcissists by others. Again, speaking in terms of statistics based on this twenty year time span.
And people are desperately seeking to understand them. To market to them, campaign to them, sell to them...basically, to communicate with them.
I feel like this is a topic worth exploring for the video industry because the Millennial generation is clearly dealing with a lot of factors that Baby Boomers and Gen X did not, just as those generations were affected in ways that their parents were not. Millennials go to the previous generation for life and career advice (which is great, the best way to learn) but there’s a disconnect when it comes to applicable advice.
Some facts evergreen: work hard, keep learning, understand the theory. But a lot of specific advice can’t be handed down like in other careers because the industry has changed so much, and it seems like older people mistake this disconnect for arrogance. All of our jobs as we know them didn't even exist thirty years ago, and Millennials came of age in the digital video world. As the era of the hundred thousand dollar Avid suite was winding down, I was creating videos at home on a consumer Dell computer. This inherently gives me a different perspective on the industry, and it's hard to wade through knowing what's "right" instinctively and being told what's "right" historically or cynically.
In an effort to help mitigate the generational divide, here are some things about the Millennial Video Producer (or shooter or editor or whatever) that I know to be true more often than not.
1. We're more interested in happiness than financial stability
-- at least, so far. In a Millennial Branding report, 45% of respondents chose job flexibility over pay and 72% want a job where they have an impact. Millennials are highly entrepreneurial and generally like to see themselves making some kind of change. There's some conflicting information about just how civic-minded Millennials actually are, but it's definitely easy to see the social patterns reflected in the kinds of businesses they align themselves with.
A statistic like this really seems to make Baby Boomers’ heads spin, spitting words like “selfish” and self-entitled” despite the fact these young people are saying they want to make change happen
. There’s a generational shift away from prioritizing family first: in ONE way. One could easily argue that by pursuing the things that make a person happy, they are doing more for their family life than they ever would being utterly miserable but financially stable.
2. We're generally under-employed and kind of resent it, especially since we're very educated.
A lot of Millennials (the most educated age group after the economic downturn according to the Department of Labor) started their careers (or tried to) at the downturn of the economy in 2008, graduating from college to find job postings that contained such comedy as "entry-level editor: 5 years experience required." Pair that with the fact they have the highest amount of student loan debt any generation has seen (nearly 40% of debt for people in their 20s according to a recent analysis by TransUnion) and it's no wonder they're being a little more careful about buying homes or moving out of their parents' place altogether. Which sucks, considering most Millennials spent their childhoods being told that a degree was the key to a career.
After the worst of the recession had passed, employers remained cautious about the job market, not hiring and not paying pre-2008 wages, either because they hadn't recovered or didn't want to take any risks, or maybe just because they could get away with it. A note of personal experience here: when I started college at Indiana University, I was told that no student left the program without three or four job offers on the table. When I was in my last couple months of school four years later and hadn't gotten so much as a rejection from any potential employers, I asked my advisor what I should do. He laughed and said "gosh, I don't know. Maybe go to grad school to wait out the economy." No doubt a temporary solution that too many people in my generation took advantage of and are paying dearly for, literally. For a lot of them, it was probably worthwhile. For this industry? Not so much unless you wanted to pursue a teaching career.
3. We're likely to freelance.
A recent survey by Elance found that 83% of Millennials say working independently or freelancing is a part of their career strategy. Coming from a blue-collar family heavily involved in the automotive industry, I can’t imagine any of my previous generations talking about freelancing as a major part of their long term career goals. That's completely bananas. Maybe it’s a result of increased self-reliance, being conditioned to poor economic times, or just a decreased willingness to work for The Man since he's not paying you anyway (and often not giving you insurance or other benefits), but more of this generation is looking to make it on their own and work for multiple clients at once.
And it's definitely possible, especially with healthcare reform providing (sometimes arguably) affordable ways for sole proprietors to manage their own health insurance. From subscription based software and workstations that are within financial reach, a lower cost of doing independent business all around hasn't been great for brick and mortar video production, but freelancers in many parts of the country are thriving, especially if they're as connected as Millennials. In a few years, 50% of the workforce will be Millennials, and many are predicting a cultural shift from the 9 to 5.
4.To finish the point of the last bullet, we're unlikely to settle in and spend twenty years with an employer
. Millennials have been cited as the job-hopping generation, looking to get lots of different kinds of experiences instead of settling in to one employer for the entirety of our careers. We're used to an uncertain job market, so we value exploration over making our way up the ranks in one company that may not even exist in ten years from our perspective. According to a 2012 survey by the Bureau of Labor Statistics, the median time spent at a job for someone 25-34 years old was about three years. Most people I know have already had three or four jobs, if they took full-time work at all.
And especially for a video producer of some sort, the allure of freelancing usually includes a more diverse portfolio and more chances to learn new techniques — something that we’ve been told time and time again is very important if we want to make it in this industry.
5. We value individualism and that doesn't make us (all) narcissists.
Yeah, we share our lives online like an open book and take selfies and spend hours a day looking at screens. But one thing our parents seemed to do for us is give us a good sense of self-esteem. Or maybe they drove us so crazy, we collectively rebelled. Either way, this individualism plays into the freelancing spirit and career exploration, but it also means that Millennials are marrying and reproducing later and less often (with a Pew study reporting that 25% of Millennials don't wish to ever get married.). And that's not good or bad, it's just a generational fact that home life in our 20s is very different than home life in your 20s might have been.
6. We like you but we kind of hope you can retire soon.
Look, we know that the retirement age is going up. Boomers don't want to retire, either because they can't or they just don't feel like it's time. That's cool. Yay, people are healthy and living longer. But dang, nobody wants to be a 40 year old junior editor, probably. The post-recession job postings asking for a million years of advice for newbie pay are still pretty common, and those jobs are being filled by you guys, which sucks just as much for you as it does for us. I see a lot of people say they're getting beat for work by young people, but plenty of young people are being passed over for older people who can't leave the industry yet.
Which is likely a major reason so many Millennials are going solo with their careers pretty early. May as well control your own fate, right? But whether it's a staff gig or freelance work, we hope the economy works itself out so you can retire and we can take your jobs. In the mean time, you can't blame us for being aggressive.
So what I'm trying to say here is that the Millennials are coming and they want to learn from your experiences, but there's always going to be a gap. The gap isn't arrogance or self-entitlement, but rather a pile of a whole mess of other kinds of experiences that shaped us, each with their own benefits and challenges. There's an assumption that things are so
much easier now for young people, with the low cost of of entry and the wide availability of tools. But while we're not fighting through the analog to digital transition or spending life savings on computers, there are a lot of challenges: a highly saturated market that includes the original experienced pros, an economy less willing to put money into video production, and a culture that requires instant gratification for work. So we thank you for what you did to get us to this point and we want to learn from you, but just don't mistake our generational differences for something more malicious.
Today, one of my favorite directors, Steven Soderbergh, posted a really great blog about “staging” in film, which is meant to mean how all the elements of a scene work together to tell a visual story. To illustrate his point, he took ‘Raiders of the Lost Ark’ and remixed it a little: converted to black and white, all music, sound and dialogue removed with a different soundtrack alongside it to help you focus on the staging — the direction, the length of each shot, how the cuts work. It’s pretty much as awesome as you might think, so you should definitely go watch all hour and fifty-five minutes
of it. I’ll wait.
When I saw this hit my various feeds today, I felt a particularly affinity for this kind of visual investigation and experimentation. I occasionally watch The Social Network on mute to get this same effect, to absorb the staging and rhythm of the thing, because a great movie works without any sound and that one is especially good for me.
But that’s only tangentially related. The affinity I’m talking about is using a similar technique to investigate staging and rhythm and cuts for my capstone project when I graduated from Indiana University. A capstone is a culmination of everything you learned (in theory) and my professor and I came up with this bananas thesis about how I could take a scene in a film, rip it apart and study the math, and discover some things about editorial that I never knew before. A sort of Gus van Sant/‘Psycho’ approach to appreciating a scene on a deeper level, but maybe more successfully.
One of the scenes I chose was from Steven Soderbergh’s 2000 film ‘Traffic’. I chose a druggy overdose scene, of course. I ripped the scene, brought it into Final Cut Pro, and razor bladed on every cut within the movie. And I measured exactly how many frames there were for each shot. I played around with changing the speed or reorganizing the shots for my own experimentation. I saw why the way it was shot and assembled worked, and how I could make it not work.
Then I rounded up some of my friends and reshot the scene myself
. The point being I would get some kind of understanding from actually going out and doing it myself, and cutting it myself. It was a little like shooting a music video because my friends/actors had to lip-sync the lines. Extra weirdly, I only had the shot I needed pulled with the audio attached so I could be sure it was the proper shot length, so some of the lip syncing was to random syllables. Extra
extra weirdly, I looped it in Quicktime for multiple takes. It was a really weird shooting experience.
Don’t laugh at me, this was a great learning experience. ‘Traffic’ starts a minute into the piece.
Besides learning the limits of the focal length of the camera I was given at school (and the importance of understanding how to use lenses), this ended up being a transformative experience as an editor, appreciating the staging of each shot and just how short
some shots ended up being. Because on the flip side of this, I also did a scene from Thomas Vinterberg’s ‘Festen’ (‘The Celebration’) and that one let shots play out a whole lot longer than I’d ever considered in my MTV generation upbringing. Another thing I learned about the composition of a shot and the staging of a scene: those big bright colors in the background of a shot? Yeah, they’re not just there for fun. I completely missed that lighting in my shoot and crudely added it in post to get the visual effect. Yikes.
In his post, Soderbergh writes that “this is what I do when I try to learn about staging, and this filmmaker [Spielberg] forgot more about staging by the time he made his first feature than I know to this day (for example, no matter how fast the cuts come, you always know exactly where you are—that’s high level visual math sh-t).” Tell me about it, dude.
I think for the visually inclined among us — the editors and cinematographers and the like — these kinds of exercises are something that can refresh your creativity in just the right way. I highly recommend turning a viewing experience on its side to investigate what makes it work so well for you. What you uncover probably applies to any
of the work you do.
So in summary, you should go watch at least parts of Raiders in gorgeous black and white and enjoy how every shot is beautiful and comes at just the right time, and also I’m a massive weirdo.
Last weekend I was bingeing on House of Cards
(as you do) and after one particularly riveting episode where blank and blank blank-out and they all blank (spoilers/adult situations) I finally noticed a familiar logo: Trigger Street Productions, Kevin Spacey's production company. Not that it's terribly widely known I guess, but the logo is burned into my brain (a folder within a folder within a folder from years ago, but it was there.)
In 2002, Kevin Spacey started a website called Trigger Street Productions (now called Trigger Street Labs
) for unrepresented writers and filmmakers. It was pretty phenomenal at the time. Years before YouTube, they were storing and streaming a massive amount of video for free – to give filmmakers a chance to get real professional (and not at all professional) feedback. The way the site worked was that you had to give reviews to get reviews. You had to be active on the site in order to get your stuff seen. As a result, the feedback you got was generally fairly thoughtful. If it wasn't, you could be reported and your credits would be taken away.
It so happens that I discovered the Art of Effing Cinema As I Know It in 2002, when I was like 15ish. I read about Trigger Street Productions in Moviemaker Magazine (I think, anyway) and bookmarked it. Later that summer, a friend and I spent a sunny day out shooting a short film. We got together at ten in the morning, wrote a quick ridiculous script, shot it, and then I was up all night editing it in the primal way editors do.
For my first REAL short (first one cut in a real NLE, as real as Premiere was in 2003 anyway), it was pretty awesome. It was about a girl who turns to online dating and finds herself falling in love with a goldfish cracker. I think our idea was that she's so desperate for love, she falls in love with a piece of garbage someone leaves on a door step. Or is the fish real? In any case, she has a torrid love affair and then her lover is killed by a jogger running by who steps on it.
Sounds absolutely ridiculous on paper but this thing had levels, man. And it worked on camera. I have no idea why.
I added this short film to my new Trigger Street account (on July 22, 2003) and for the first time, I got real people giving me real feedback on a creative thing I did. Up to this point, all I got were reactions from my mom and my friends. It wasn't all that easy to share video back then. I found server space here and there and put links to videos in my AIM Away Message (WTF) for friends to watch. But these replies, THESE were other filmmakers.
"There was some stuff that was a almost creepy though, certain innuendo that probably wasn't necessary."
"Seriously, though, WOW! That this piece was shot and edited in a day by high school students makes it very impressive indeed. If I were back in high school I'd definitely want to hang out with this bunch and make movies."
"Obviously, you guys are inate storytellers, and quite bright. I doubt that you've gotten much training, which means you watch movies and see what works. That gives you a head start."
"I liked the edit, I liked the camera work, and it was lit well, at least, I could see everything clearly and it fit the moments. Nice work from some talented young ladies."
"Cutting the voiceover would have really made it a film instead of a project done in one day. You should open up Premiere and click on the voiceover track and hit delete. Then watch the film, it will be much better. "
By the way, I didn't agree with that last one then and I still don't agree with it now.
I hadn't logged into Trigger Street since high school, so to my surprise there have been a number of reviews posted in my absence despite me not reciprocating in some time now. I was even surprised my account existed any longer. But there it is, along with all the old reviews and my Realmedia encoded microscopic videos with a bit rate of twelve.
Between the refreshingly interesting storytelling of House of Cards
and the very first reviews I ever got, I started to think about what editing was like when I was just getting started. Not that the evolution of a career isn't something amazing to experience, but when you're fifteen years old, there are no notes from clients. No difficult producers. There are no tricks or carefully written emails. There's just you and your imagination. There hasn't been time to over-think or stress about an editorial decision. It's all one big experiment.
It's amazing how much you can grow as an editor while simultaneously losing the ability to think from all these angles. I think most editors would say they're unwaveringly inventive and creative people, but the truth is that you start to become the sum of your experiences. You can do amazing things in your work, but nothing will ever be like when you were making things for yourself and yourself only.
Although, to be perfectly clear, I'm really
glad I'm closer to this part of the journey than the very beginning. I want to go back in time and tell that excitable kid with the Hi8 camera and too much time on her hands that it's a long, confusing road ahead - but stick with it, because it gets cool more often than not.
And it's worthwhile to read some of the stupid things strangers wrote about your first film project:
"Although this film has transitional difficulty in editing and lackluster camera work, it's kind of fun and very interesting."
Thanks, Internet stranger. You made my teenage day. And thanks Kevin Spacey. Hit me up if you need an editor.
There’s a whole big world out there in post-production-land, and most of it is pretty awesome.
When I headed to the NAB Show last week(ish), part of my (personal) mission was to learn a little more about companies I didn’t know much about. Not just ask someone or read some Wikipedia stuff, but actually get to know what their missions are in post-production right now. I found that if I just went up to an industry peer and asked about Grass Valley, they’d give me a bit of “oh, they’re still around?” I mentioned to someone that I had just been to a Quantel press conference and they quipped something about how the six people that use their stuff will be happy to see the updates.
Clearly this isn’t the case. At NAB, these two companies have two of the biggest, most prominent booths. They’re doing big business at the show but more importantly for the world of post overall, one way or another. And there are others too, like Vizrt and NewTek (who are working together on some pretty cool graphics stuff that you’ve probably seen in use) — prominently standing out on the exhibit floor that is entirely dedicated to post-production. But beyond the NAB bubble, these kinds of companies are the ones that run the backbone of post-production facilities and broadcast and live production and all sorts of other unsexy-on-the-surface stuff.
Beyond the surface, they’re doing some awesome stuff and they have been for a while. I know a lot of us don’t deal with these areas of post because we’re editors and cinematographers and freelancers. But it’s all in the same universe, and that means that these technologies can trickle down into our neck of the woods someday and solve some of our problems. And having a broader scope of the world is only a good thing for all of us.
Covering a lot of ground at NAB requires maximum comfort: dresses and sneakers.
For example, most of us are looking at NLEs and some cameras — 2K, UHD, HDR, 4K, all that stuff. We’ve been introduced to the idea of collaborative timelines in Resolve, cloud-based editing in Avid, 4K GPU debayering in Premiere. This is some of the top-billed stuff in these releases, and rightfully so. It’s freakin’ awesome stuff and it’s exciting for us to get our hands on it. It changes our every day right now.
But look a little further and see what’s already been happening. Grass Valley is providing Japan’s KTV with a full 4K editing system right now (with support for 8K later, 8 flipping K.) That means the news station is using EDIUS for real time 4K editing with Grass Valley's HQX codec, which allows for super high resolution video with dramatically improved editing response time. And if you didn't hear, Japan plans to actually be broadcasting 4K this summer, two years earlier than expected. And 8K broadcast is even being pushed forward, with NHK demonstrating their 8K playout at NAB and other trade shows. So while we're discussing the validity of having 4K in the home at all, Japan is doing its thing -- its thing being trying really hard to beat South Korea at technological advancements.
Maybe we need a "friendly" rival again.
Grass Valley also had an interesting booth at NAB. If you're gonna have live models on display, may as well make 'em fight.
Quantel’s Genetic Engineering 2 allows editors to open any project in any room (or multiple rooms) to work. And that’s a “2" meaning it’s the second version because Genetic Engineering was first introduced in 2007. With GE2, a bunch of Pablo, eQ and/or iQ stations share a "GenePool" -- shared storage -- and that allows real time sharing of projects and guaranteed playback of multiple high resolution media streams, as well as other non-creative tasks at the same time. I don't mean project sharing so much as having multiple editors working on the same clip in different rooms. The first version supported stereoscopic 3D and 4K, and did I mention this was in 2007? I was still editing mostly standard definition stuff in 2007. The updates at NAB added some new stuff, including 6K playback from disk to 4K outputs. Light Iron has finished at least 4 6K DI sessions with this stuff. That is bananas to me.
Post-production and technology consulting companies like Digital Film Tree are building their own proprietary cloud-based editing systems that are in use on television and film today, and not in an experimental way. Five years ago (yeah, in 2009), they partnered with Rackspace to work toward realistic cloud-based collaboration and sharing because the old Hollywood ways of looking at dailies were getting super inefficient and way costly, especially when you consider a show might be shooting 50TB of stuff a day. Instead of pushing around a bajillion terabytes of content through a bigger, more expensive pipe or grabbing more storage, they're designing private clouds for studios powered by OpenStack to manage content sharing and collaboration. "Cloud" was a buzzword at NAB this year and lots of people are adding it to their products (or at least their product marketing), but Digital Film Tree has already been improving their own actual clouds all this time.
And I mentioned how NewTek and Vizrt are working together on some cool stuff. Vizrt makes tools to create the real-time 3D graphics and maps you see on CNN, CBS, NBC, pretty much all major US broadcasters -- you probably watch football, yeah? The graphics are from Vizrt tools. Not football? How about the last presidential election? NewTek's TriCaster (for live multicamera productions) can now integrate with Vizrt, meaning all those complex graphics can now be managed by one person and used on mobile production trucks, along with NewTek's replay system (3Play). This means a lot more scalability for different live productions. Like, your next college football game might have a significant jump in production value.
From A to B, all the way to V..izrt.
Even though I’m not going to be using Pablo anytime soon and I’m not managing dailies on a 6K studio feature (yet), these are all fascinating updates. These are global workflows that are touching a lot of people in some way, and as they get to be old news, my NLE seems to inherit them. Some stuff changes my every day right now, but the bigger picture gives a glimpse of what my future looks like — either my current NLE or maybe a jump into something new.
I think this is especially important to mix up the usual conversation about post. So much of the discussion is dominated with regurgitating old debates or evaluating a product based on the old, trusted ways. The trusted is becoming obsolete, if it isn’t already. While some are going in circles, looking for anything in a press release to confirm their bias, the rest of the world of post has moved on to bigger and better things.
I found a lot of cool stuff at NAB this year, but I think the most important discovery wasn’t an anecdote about 8K broadcast, but rather the world beyond the companies that start with A (or B). It doesn’t change what I do in my edit room tomorrow, but it makes me optimistic for the future of my career: longevity, security, and a whole bunch of flippin’ sweet technology to play with.
With the show wrapping up and my body shutting down, I've been thinking about the stuff I've seen and people I've talked to at this year's show. This is the first year I've been covering the show in a full on press capacity (meaning sitting down with a number of vendors to get the story straight from them) and it's been great fun. It's also offered another perspective to me as a show attendee, maybe the clearest one about the industry overall I've had so far.
This is my third NAB. My first year was a learning experience where I did educational classes. Last year I blogged a bit and worked as an exhibitor. This year's press interviews meant I was covering a lot of ground and talking to a lot of people about a lot of things. And I'll be posting a lot more about what I've found over the next couple of weeks, by the way.
A common theme I found this year was that everyone was excited but not really about anything in particular. When I spoke to companies one on one, I asked if they had heard about anything cool I should check out. They are admittedly focused on their own products and business and are obviously excited about those things, but besides the camera offerings from Blackmagic and AJA, there wasn't much else to the conversation.
Same with attendees. No big news beyond the few Monday announcements. A lot of people I talked to felt that traffic in general was light in general. I have no idea if that's true, but it didn't seem quite so crowded on Monday morning to me either. By Wednesday, however, I couldn't tell if the south hall was friggin' hot or if I had a fever. Who thinks to pack a thermometer in their bag to Vegas?
One small company I spoke to said he realized that having a booth presence at NAB meant he was investing a lot of time and money into a week where he got limited exposure to a lot of people who didn't really need his service. Instead of wrapping the year around the artificial deadline of releasing new stuff for NAB, he's invested in web advertising and releases new stuff whenever he feels like it or whenever his customers ask for it -- and he claims many other small companies are starting to follow the lead.
On the other side, I talked with another vendor who probably won't be ditching their booth presence anytime soon. They also mentioned they've seen the value in not letting NAB dictate their product releases. The industry calls for changes to be made and updates to be sent out on a flexible basis and the Internet makes all that easier all the time. There is a far greater value in delivering things throughout the year than making a smash at NAB because responsiveness is valued over showmanship.
Judging by the booth traffic in the major vendor booths near the front of the south hall -- Grass Valley, Adobe, Blackmagic -- NAB certainly isn't dying off. This is not a sky is falling NAB is dying article. That's not my jam. There's still relevance to a trade show. People like to shake hands, one on one training is valuable, and plenty of business is done in Vegas this week. But companies of all sizes are seeing the value of letting their product cycles be flexible instead of fighting the other thousand press releases hitting this week, or the other hundred booths around them for attention.
I learned a lot this week, but most of what I learned came from bigger companies in the front half of the south hall. There's a lot going on besides cameras and NLEs, a whole side of post and production technology that barely touches my world. The deeper infrastructure that makes the world go 'round seems mostly unaffected by anything other than a push to be smaller and more efficient, which has been the main goal of technology for only about a hundred years or so.
So here's what I'm gonna do. I'm gonna go home, determine if I've been afflicted with the rhinovirus or something that needs heavy artillery, get my $&%^ together, and tell you more about the awesome stuff I found and talked about -- collaboration near and far, stories of people I met, and yeah, I found some ladies at NAB I'd like to tell you about.
The running gag on the show floor yesterday was a punchline to the effect of "AND we're releasing a camera!" If that kind of humor isn't your thing, then I can't really recommend you come to NAB for real.
But even with all all the hooplah about new cameras and such, a couple things that stuck out to me today are throwbacks. The last few years in particular, I feel like there's been a push toward the nontraditional -- NLEs doing weird stuff that grumpy dudes hate, cameras turning into little boxes you can't actually handle, that kind of stuff. And today we saw AJA's new camera (WTF, what a weird phrase) and Blackmagic Design's new cameras both with more classic camera design features. Of course the camera
companies have always had a mix because they have so many cameras to choose from. But companies that aren't traditionally linked to cameras experimenting with designs in their limited product pool is an interesting way to see what's happening in the industry. DSLRs started some kind of trend a few years ago, and it seems like maybe camera designs are coming back around.
Then again, I'm an editor.
Speaking of throwbacks, I think Blackmagic Design's new Cintel Film Scanner is awesome. In all the innovations within the show moving digital media forward, it's nice to see that film has a place front and center.
Interestingly, most of the excitement on the floor has been in discussing the future and what's possible very soon rather than specific products, large or small. It's kind of nice to see people thinking more about the big picture, a kind of joy for the industry that was sort of lacking last year. To me, at least.
Oh, and to update you on the superficial aspects of the show: it's loud, crowded, and hot. Everything is too far apart. Lines are long, food's expensive, and actually I'm having a great week thanks for asking.
I've also decided to put together a new art exhibit of images I'm collecting this week. It's called Human Props Sitting Sadly in Booths.
So yeah, if you haven't guessed by the articles you might have seen with my name on them or the NAB show guide and all that, I'm here in Vegas for my third NAB. My brain hasn't really caught up to the idea yet, so I've spent much of the weekend walking around in a daze. I think it's starting to settle in though, and just in time. No matter what tomorrow brings, I'll be on my feet a lot -- my poor feet that already have a blister. Damn you, shoes.
I was at the convention center and other press events all day, and some social events like #postchat all night, so I made sure I asked mostly everyone I saw what they're interested in seeing this year. Is there a product? A company? A general idea of a thing? A problem that needs solved? Some kind of something?
The response I got was mostly a half-hearted shrug. A canned answer, if I'm lucky.
My last two shows, I didn't ask quite so many people about what they were interested in seeing, but I've never really had so many people give me a blank stare. It seems like there's not a lot of buzz over any one thing, people are 4K'd out before the week begins, and many of the rumored items so far haven't done much to excite my circles -- not even the giant Resolve 11 screenshot plastered over the south hall. Maybe it's just the people I asked, but my sample size was large: random press, friends and acquaintances, a stranger I shared a cab with. I'm just sayin'.
So this year, rather than going into the show with unbridled anticipation, the real enthusiasm will have to start around 9AM tomorrow morning. Maybe. Guess we'll find out, eh?
I'll tell you this, though: I used a cupcake ATM today and it was everything I ever dreamed it could be. If you're looking for an excuse to come to NAB, let it be that.
The NAB Show again approaches and the various survival guides are being recycled into the Internet. I wasn't going to post one this year just because there are so many other completely comprehensive fully illustrated and hypertext marked up guides out there a Google search away. But I've gotten a number of requests to share my experience with newcomers again so I thought about it a bit, and I guess I do have something more to add to the conversation beyond just comfortable shoes and protein bars.
Sure, it's obviously important to be physically prepared for the show. If you showed up to the convention center without ever having been briefed on what to expect, you'd burn out quickly and miss the good stuff anyway. So go and find those NAB survival guides and have a plan of attack. Consider that the 101 class. When you're ready, this is the 200 level: being mentally prepared for this mob of video geeks. Basic etiquette, humility, and coming away from the whole mess with maybe a friend or two.
Ronn (@rovino) knows me from Twitter and found me in the south hall!
1. Don't be intimidated.
Okay, try not to be intimidated. Okay, don't let any intimidation get in the way of your enjoyment. Last year, there were over 93,000 registrants from 156 countries, all packed into one of the weirdest cities in the United States. That's a lot of people. Some people are intimidated by crowds, some by the idea of having to talk to so many people, some by the sheer number of bright blinking lights. Remember that a lot of those people are probably feeling just like you are about the whole thing. Ain't nobody judging you. If anything, you might find some common ground on your newfound appreciation for sardines. Plus, you won't even see a lot of them unless you're into some heavy duty radio or broadcasting stuff. If you're in a class, say hello to people around you. Sitting down for lunch, say hello to people around you. See a pattern? I know it sucks and it's difficult to talk to strangers, but try it once and see how it goes.
2. Aim to meet people.
Unless you're going to NAB specifically to buy things for your company and come home, I don't see the point in attending without aiming to meet people. You're in Vegas with perhaps thousands of the most like-minded people you'll ever find. It's like OKCupid, but instead of searching for your soul mate you're looking for that person who will debate the pros and cons of various archival systems until the wee hours...who may also be your soul mate, but hey, take it slow okay?
How d'ya meet people? Find people you know online or people whose blogs or articles or books you've read, and introduce yourself. Go to some of the evening events like my Cards Against Humanity casual hangout fun (Monday, 9, LVH!) or the #postchat meetup (Sunday, 8, O'Sheas!) You'll find all kinds of tweet-ups, parties, hang-outs, events, and get-togethers listed online.
3. That said, plan your evenings wisely.
Once you see all the stuff that's going on at night
, you'll be tempted to stretch yourself thin. Remember that Vegas is big. You can't go everywhere and do everything. If you do, you might not be able to scrape yourself off your dirty casino hotel bathroom floor the next morning to go back out to your classes or exhibit hall for more education and scavenging. Pick the things that seem like they'll have the best reward -- somewhere you know some friends will be, or where you know you'll be able to network with the right people. If it doesn't work out, you can always move on, but trying to get to 5 parties in one night? Well, just remember how all those Redbulls are going to feel tomorrow.
4. It's okay to be alone.
Bright lights, tons of people. It's okay to be alone for a while if you've had your share of the whole thing. If you can find the careful balance between too many people and being a lone wolf, you should feel pretty capable of pulling this whole thing off and getting home in one piece, only lightly traumatized. A couple hours in your hotel room or even a solo walk along the strip is often a sufficient reset button for short bursts of social interaction.
5. Don't be a jerkface.
I spent this post reminding you to put yourself out there and be kind to your brain and body and meet people and be alone. Now I'm reminding you: don't be a frigging' jerkface to anyone. If you're a little tentative on social interaction and meeting new people, you should treat everyone else how YOU would like to be treated. Someone introduce themselves? Be kind and courteous and make an effort to get to know them a bit. If they're a weirdo obviously you can bail, but in a NICE WAY. If you're at NAB, a large part of your experience should be spent networking because you don't have the opportunity to meet so many people from so many different aspects of video life at any other event all year. If you're arrogant or dismissive, you've blown it.
There are so many guides and stuff about the NAB show, you'd think it were some kind of grand adventure to the moon. But in a way it kind of is, isn't it? But that doesn't mean you need to overthink the whole thing. NAB is crazy, but it's still just a bunch of broadcast geekery filled with awkward humans like you and me. So get your comfy shoes and socks, meet some people, learn some new things, and have fun. And if you see me around, please stop me and say hello. I don't usually
Kes (@nle_ninja) & I "met" on Twitter, met at NAB 2012, and spent 2013's show dressed alike to promote our podcast!
Let's talk. No tech questions, no debates, no critique. Let's talk about you
. How are you? No really, how are
When's the last time someone really asked you that? When's the last time you answered truthfully?
Post-production is hard. Like, really hard. It's the kind of industry where it's rare to have a routine and normal to work overtime. It requires you to constantly stay updated on software and skills and outlooks. Constantly look for work. Call people. Email people. Check Twitter. Call more people. And oh yeah, actually edit things. And oh, YEAH..have a personal life. Maybe. It's demanding. It's often thankless. You spend a lot more time being told you're wrong than right at some stages of a project. You can't leave your work at the office each day.
We had a good discussion about parenthood in post production last year, and more recently about being a good human to others. But what about you? You're the one that has to worry about all this. You have to, in no particular order: be a really good editor, pay your rent on time, deal with critical clients, juggle your personal life without dissing your friends to the point of abandonment, and accept more rejections than compliments. It's a rough industry. Your creative work is a direct reflection of yourself. The highs are really high, the lows are really low, and the drastic changes in work-related mood may mask deeper problems. And especially at this time of the year, when it's dark and dreary (at least in my hemisphere), it's something worth talking about.
A number of studies have pieced together some kind of relationship between mental illness and creativity. For example, a recent Swedish study showed that people in creative fields were 8% more likely to have bipolar disorder. Writers in particular were 50% more likely to commit suicide. You can probably name a number of famously ill artists, many of which took their own lives: Hunter S. Thompson, Virginia Woolf, Vincent Van Gogh, Ernest Hemingway...a seemingly endless list. Whether there is a quantifiable link between creativity and mental illness or not, you can see why a creative industry can become associated with mental illnesses. Creative individuals are more likely to be self-introspective more often, are often extremely detail oriented, and spend a lot of time feeling closely associated with self-expression -- a strong desire to create, and often a strong desire to be better, sometimes to the point of self-destruction. (Not that other professions don't have their own draws and challenges that attract, nurture and tear down individuals prone to mental illnesses, but we're artists here so I'm talking about artists.)
I think everyone reading this knows someone who suffers from some degree of mental illness. Maybe you suffer from it yourself, or suspect you might. Yet there remains in our world a tremendous stigma toward mental illnesses of all kinds. People don't talk to each other about this. Our society's support system for the mentally ill is embarrassing. Healthcare is a joke even in the face of the Affordable Care Act. From the highest regarded artists in history to the overwhelmed recent college graduate, mental health is one challenge we all have in common. So why are we hiding it, and why don't we give each other the benefit of the doubt?
Among the most common mental illness in the United States is depression -- something like one in ten adults report occasional to major depression. And even then, it's vastly underreported because many people still associate depression and anxiety with weakness. "I'll deal with this myself, I'm just being dumb." "She sleeps until noon because she's lazy." "He doesn't want to go out again, he must be stuck up." Rarely is the first response to abnormal behavior to simply ask a person how they're doing. On the other side, for the person experiencing the depression: "I'm too strong-willed to be depressed." "I can overcome this by myself." "I must be ungrateful for what I have."
Some people are capable of crawling back out from behind occasional bouts of depression. Others only sink further, not seeking help out of pride, fear or anger. A recent graduate might say "if only I could get a job, then I'll feel better." A seasoned camera operator thinks "once this gig is done, I know I'll be able to relax." But then it happens - the job comes up, the gig ends - and nothing changes inside.
I asked a friend in the industry with severe depression and anxiety to describe how it felt, how he differentiated it from loss or sadness or stress. He told me he felt like the main difference for him was his inability to ever experience joy, for months on end. It doesn't get better. It feels stupid, especially in the face of an otherwise decent lifestyle, to not be able to function correctly with simple tasks. Keeping up with household tasks or finding inspiration for your work becomes harder, and the difficulty brings anxiety. Medications help to level the feeling and make it less acute, but they don't generate
positive feelings. People have tried to tell him "look at what you have, you've got what you need, things could be much worse, why are you such a downer." He could win the lottery and buy a zoo and he'd still feel exactly the same way because that's what his brain and mind have come up with for him. His perception of the world (and himself) is skewed by this as he struggles to accept his differences not as deficiencies and find a way to function with them - a lifelong struggle often lost.
But if you saw his work, you'd never guess he wasn't at the top of his game.
Mental illness is pretty damn common, especially in our industry. People are good at hiding it, and our professions make it easy to mask. We're in an industry where all-nighters are normal, obsession can be called passion, and the momentum just keeps going forward so fast nobody can stop for a minute to realize that something real is actually wrong.
But these illnesses are like any other disease. They need time and support to heal, possibly under the guidance of a healthcare professional. Some of them need medication to manage, and that's as okay as taking medication to manage high blood pressure or diabetes. There is no shame in asking for help, just as there's no shame in going to a general practitioner with migraines or a podiatrist with foot pain. If you feel you need help, try to ask someone. If you know someone that needs help, offer to help. Or simply offer friendship and support without judgement. For some people, that can make all the difference in taking whatever next steps need to be taken.
Mental illness is often mistaken as a personality flaw, especially by the very person suffering from it: moody, short-tempered, weak, lazy. And that makes sense in our profession, where we're harder on ourselves than any of the critique we face every day. Just hear this: just like it's okay to post a question in a COW forum or tweet soliciting opinions, it's okay to ask for help in managing your mental wellness, and it's okay to encourage a culture where we can all be a little more open about these things.
So hey, how are you?