WEBVTT 00:01.070 --> 00:03.980 - Hi, and welcome to today's feedback session 00:03.980 --> 00:06.520 for videographer of the year. 00:06.520 --> 00:09.000 Just a couple of notes, as we kind of get things started. 00:09.000 --> 00:13.530 I've heard that we introduce the judges in the beginning 00:13.530 --> 00:16.090 but we don't come back to their names and who they are. 00:16.090 --> 00:17.410 So we're going to be doing that 00:17.410 --> 00:20.410 throughout this particular feedback session. 00:20.410 --> 00:22.490 Another thing I wanted to let everyone know 00:22.490 --> 00:24.630 is we have Chief Warrant Officer Runyon here. 00:24.630 --> 00:28.450 He is one of five military judges that judged on the panel, 00:28.450 --> 00:30.420 on the individual panels this year. 00:30.420 --> 00:33.880 So we did have a military rep from each of the services. 00:33.880 --> 00:37.020 Also, I know you guys are on pins and needles, 00:37.020 --> 00:40.810 but the winners will not be announced until tomorrow, 00:40.810 --> 00:44.290 so even our judges don't know who's won. 00:44.290 --> 00:47.463 So, let's go ahead and meet our judges. 00:48.350 --> 00:49.300 Sir? 00:49.300 --> 00:51.710 - Hey, I'm Chief Warrant Officer 4, Clint Runyon. 00:51.710 --> 00:54.570 I'm currently stationed at II MEF 00:54.570 --> 00:57.510 in North Carolina at Camp Lejeune, 00:57.510 --> 01:00.930 20 plus years of combat camera work, 01:00.930 --> 01:04.040 and now a visual information officer in the new 01:04.040 --> 01:06.403 Marine Corps Com-Strat occupational field. 01:07.610 --> 01:08.443 - Excellent. 01:09.300 --> 01:12.030 - And hi everybody, my name is Claudia Barbiero 01:12.030 --> 01:14.556 and I am not in the military (laughs) 01:14.556 --> 01:17.260 but I've been in marketing utilizing video 01:17.260 --> 01:20.900 for a long, long time, back in the dark ages. 01:20.900 --> 01:23.020 But right now I'm actually involved working 01:23.020 --> 01:26.470 with live broadcasting and live video production 01:26.470 --> 01:28.060 with the company I work with. 01:28.060 --> 01:31.770 So we work with major broadcasters around the globe, 01:31.770 --> 01:35.220 regional sports networks, and even online streamers 01:35.220 --> 01:38.910 who stream their life real-time on social media. 01:38.910 --> 01:40.470 So I'm involved in all types of, 01:40.470 --> 01:41.340 if you want to think about it, 01:41.340 --> 01:43.510 today's multi-media journalists. 01:43.510 --> 01:46.750 So we help both technically to produce their content, 01:46.750 --> 01:51.030 but also communicate, share, and get discovered 01:51.030 --> 01:53.690 by audiences around the globe. 01:53.690 --> 01:54.990 - Wow. - Yeah. 01:54.990 --> 01:57.560 - Okay, well I think without further ado, 01:57.560 --> 01:58.960 we're gonna go ahead and jump right in. 01:58.960 --> 02:03.260 Again, these videos are running in no particular order 02:03.260 --> 02:04.880 in case you think that maybe the one off the top 02:04.880 --> 02:07.620 might be the winner or the end might be the winner, 02:07.620 --> 02:09.410 so these are going in no particular order. 02:09.410 --> 02:12.020 We're going to go ahead and play the video first, 02:12.020 --> 02:14.830 and then we will come back for judges' comments. 02:14.830 --> 02:16.380 Let's go ahead and get started. 02:23.550 --> 02:24.510 Okay, it looks like we're having 02:24.510 --> 02:26.100 a technical difficulty or two, 02:26.100 --> 02:27.730 so we'll take a couple minutes. 02:27.730 --> 02:31.030 What did you guys think about the contest as a whole, 02:31.030 --> 02:31.863 the stuff you were looking at? 02:31.863 --> 02:34.510 - Well I was honored to be asked to do it 02:34.510 --> 02:38.615 because it is exciting to be able to provide feedback 02:38.615 --> 02:42.580 to the next generation of videographers that are coming up, 02:42.580 --> 02:43.960 especially in today's day and age 02:43.960 --> 02:48.570 where things are very, very short, very much infographics, 02:48.570 --> 02:51.710 very much the attention span of an audience 02:51.710 --> 02:54.530 is very difficult to capture, so it was really interesting 02:54.530 --> 02:57.940 to see how the next generation of videographers 02:57.940 --> 03:00.550 in the military are actually embracing that, 03:00.550 --> 03:02.900 to say that there's so much to share, video-wise, 03:02.900 --> 03:04.270 and how do you look at it from, 03:04.270 --> 03:06.080 how do I edit that down and distill it 03:06.080 --> 03:08.450 to tell a really interesting story. 03:08.450 --> 03:11.363 So it was fun, so I thank you. 03:13.235 --> 03:15.900 - Yeah I thought it was really interesting. 03:15.900 --> 03:17.700 I enjoyed it. 03:17.700 --> 03:20.530 Looking across the force, looking at the entire DOD 03:20.530 --> 03:23.000 and how the DOD perceives production 03:23.000 --> 03:26.660 and what they see in videography I think is really cool. 03:26.660 --> 03:29.509 So it was a treat to look at what they're doing. 03:29.509 --> 03:30.441 - Excellent, well let's take a look 03:30.441 --> 03:31.353 at what they're doing now. 03:31.353 --> 03:32.353 - All right. 03:34.586 --> 03:38.169 (booming orchestral music) 05:00.060 --> 05:01.450 - [Host] Okay. 05:01.450 --> 05:05.453 So, taking a look at that, sir, what did you think? 05:06.840 --> 05:07.960 - I liked it. 05:07.960 --> 05:10.710 I thought it was a very good informational piece. 05:10.710 --> 05:14.630 He used a lot of historical footage. 05:14.630 --> 05:16.960 So pulling in a lot of historical imagery 05:16.960 --> 05:18.720 is extremely important, especially when you're talking 05:18.720 --> 05:20.630 about a subject like this in this video 05:20.630 --> 05:23.410 and you're describing a medal or something like that 05:23.410 --> 05:26.300 to an audience that really may not know the background 05:26.300 --> 05:28.760 of what that medal is or what that information is. 05:28.760 --> 05:30.220 So I think that his use 05:30.220 --> 05:33.463 of historical footage was really good. 05:34.390 --> 05:36.320 Transition wise, some of the concerns I had 05:36.320 --> 05:39.050 were how fast some of the transitions were 05:39.050 --> 05:42.883 in pacing, with how he paced it, but otherwise I enjoyed it. 05:43.770 --> 05:45.620 - I agree. 05:45.620 --> 05:48.830 For me, as a visual marketer, 05:48.830 --> 05:50.460 being able to read all the text 05:50.460 --> 05:53.620 and being able to absorb what's being conveyed 05:53.620 --> 05:54.920 is super important. 05:54.920 --> 05:57.590 And that would be my only real criticism about the piece 05:57.590 --> 06:00.060 is maybe the pace, the size of the font, 06:00.060 --> 06:03.183 the amount of content, sometimes breaking things up. 06:04.490 --> 06:08.180 It's okay to have it move a little bit at a pace that, 06:08.180 --> 06:09.400 actually watch it from the standpoint 06:09.400 --> 06:11.070 of someone watching it and reading it 06:11.070 --> 06:13.490 while also trying to see the images behind it, 06:13.490 --> 06:14.560 and get that relationship, 06:14.560 --> 06:17.050 and that's really the only critique that I can offer. 06:17.050 --> 06:20.820 A couple of those content areas 06:20.820 --> 06:24.820 were difficult to read and see what's going on. 06:24.820 --> 06:26.410 - So this is where sometimes 06:26.410 --> 06:28.640 you can maybe get a little too close 06:28.640 --> 06:30.230 to your product. - Correct. 06:30.230 --> 06:33.070 - And that's the benefit of multiple eyes, 06:33.070 --> 06:34.490 kinda letting you know that. 06:34.490 --> 06:36.660 - That does happen during the editing process. 06:36.660 --> 06:38.720 Watching, re-watching, getting the input of others, 06:38.720 --> 06:39.890 you're absolutely right. 06:39.890 --> 06:42.070 If I were to write it, I'm probably gonna put so much 06:42.070 --> 06:44.260 in there because I'm so passionate about it 06:44.260 --> 06:45.560 versus someone else who can say, you know 06:45.560 --> 06:48.493 we can break this down and maybe real impactful keywords. 06:49.990 --> 06:50.823 - Excellent. 06:51.870 --> 06:53.580 Thank you both, okay. 06:53.580 --> 06:55.563 We're gonna move on to our next video. 06:56.750 --> 06:58.000 Let's see what we've got. 07:02.028 --> 07:05.528 (soft instrumental music) 07:10.570 --> 07:13.380 - History provides us with so many valuable things. 07:13.380 --> 07:16.020 It's important to me because it's part of 07:16.020 --> 07:19.320 who I am as a sailor and who I am as a person. 07:19.320 --> 07:22.160 I wouldn't be where I am today if I didn't have the lessons 07:22.160 --> 07:25.270 from history and the legacy that was left behind 07:25.270 --> 07:27.510 by the chiefs that came before me, 07:27.510 --> 07:30.056 and the sailors that came before me. 07:30.056 --> 07:32.820 - History is important to me and to us 07:32.820 --> 07:34.740 because it helps to shorten the gap 07:34.740 --> 07:39.030 between different branches, different services, 07:39.030 --> 07:42.020 what we have done here in the military, in the Navy, 07:42.020 --> 07:43.668 and where we have come from, 07:43.668 --> 07:45.310 and what it took to get us to the point 07:45.310 --> 07:47.070 that we are here today. 07:47.070 --> 07:48.490 - We talk about the keepers of tradition 07:48.490 --> 07:50.010 and this is where everything started. 07:50.010 --> 07:53.320 This is that tying the line of what it is we do now 07:53.320 --> 07:55.610 coming from what it is we did back then 07:55.610 --> 07:58.670 and how we evolved and became better and where we came from. 07:58.670 --> 08:02.170 - History is important to me because where we came from, 08:02.170 --> 08:04.230 it kinda guides where we're going, 08:04.230 --> 08:07.980 and if we don't learn from those before us 08:07.980 --> 08:10.682 then we can't teach those that are coming after us 08:10.682 --> 08:12.573 the proper direction to go in. 08:14.170 --> 08:16.850 - Well, history is important to me because you have to know 08:16.850 --> 08:19.210 where you came from in order to know where you're going. 08:19.210 --> 08:21.380 So doing Chief Heritage Week here 08:21.380 --> 08:24.300 on the Constitution at Deveans means a lot. 08:24.300 --> 08:25.837 We're on the oldest ship in the Navy, 08:25.837 --> 08:27.923 and what better place to celebrate 08:27.923 --> 08:30.173 Chief's Heritage Week but here. 08:32.910 --> 08:36.040 - I guess me being here physically just brings me back 08:36.040 --> 08:38.350 to see what the olden day sailors went through. 08:38.350 --> 08:40.115 To sleep in the bunks, to experience 08:40.115 --> 08:43.630 how they lived, how they slept. 08:43.630 --> 08:46.670 Yeah, it's pretty much brings a whole new meaning, 08:46.670 --> 08:47.650 pretty much you're living history 08:47.650 --> 08:49.300 when you're on the Constitution. 08:49.300 --> 08:50.964 - What history means to me is, 08:50.964 --> 08:53.920 the Chief's message has been around for 125 years 08:53.920 --> 08:56.120 and it's probably been the most relevant 08:57.490 --> 09:00.447 aspect of the Navy in ensuring we meet the mission 09:00.447 --> 09:04.020 and respecting and honoring our traditions 09:04.020 --> 09:07.580 and history of heritage as an organization ensures 09:07.580 --> 09:11.727 that we remain relevant to the Navy for years to come. 09:11.727 --> 09:15.227 (soft instrumental music) 09:16.285 --> 09:18.693 - Try to be polite about it. - No. 09:18.693 --> 09:20.975 (laughing) 09:20.975 --> 09:24.693 So, let's go ahead and talk about this one a little bit. 09:26.360 --> 09:29.310 I'm a broadcaster by trade, as well, 09:29.310 --> 09:32.070 Army broadcaster to start with, civilian stuff as well. 09:32.070 --> 09:36.083 So in looking at this piece, what jumped out at you? 09:38.180 --> 09:39.220 - There's a couple things that jumped out 09:39.220 --> 09:40.273 at me in this piece. 09:41.160 --> 09:43.580 One that I really struggled with, 09:43.580 --> 09:45.803 the hard cutting in between interviews. 09:47.286 --> 09:49.980 The interviewees were not lit, 09:49.980 --> 09:52.730 so you had the boat in the background, 09:52.730 --> 09:55.920 which was probably more in focus than the subjects were, 09:55.920 --> 09:58.390 and that causes a rift for the viewer. 09:58.390 --> 10:01.560 So that was tough for me to watch this piece 10:01.560 --> 10:03.230 because I was trying to focus on the viewer 10:03.230 --> 10:05.190 but the ship was really what was in focus 10:05.190 --> 10:06.910 and there was no lighting on the subject 10:06.910 --> 10:09.140 so that causes a real distraction, 10:09.140 --> 10:11.926 and that's one of the key things I started with. 10:11.926 --> 10:14.920 - Totally agree, and in addition to that, 10:14.920 --> 10:17.610 having it be the same shot over and over again 10:17.610 --> 10:20.600 gets a little, I don't want to say exhausting for the viewer 10:20.600 --> 10:21.850 but you start to tune things out. 10:21.850 --> 10:24.210 You don't really recognize it's a new voice, 10:24.210 --> 10:27.890 it's a new story that's being said, you almost zone out 10:27.890 --> 10:31.040 a little bit because it all looks the same. 10:31.040 --> 10:33.190 So sometimes just shifting a little bit. 10:33.190 --> 10:35.460 Having a nice transition between each speaker, 10:35.460 --> 10:37.420 and just shifting it a little bit 10:37.420 --> 10:40.903 can then keep the viewer awake enough to stay engaged. 10:41.794 --> 10:43.515 - Agreed, agreed. 10:43.515 --> 10:48.515 - I'm looking at this as well and I am a little surprised 10:49.600 --> 10:52.060 that the interview subject would be in the same place 10:52.060 --> 10:53.940 all the time, all the time, all the time, 10:53.940 --> 10:56.720 and I completely agree with you with how it was lead. 10:56.720 --> 10:58.500 - Look, the exciting thing about being outside 10:58.500 --> 11:01.430 is that you have the whole outside as your studio, right? 11:01.430 --> 11:04.870 So even though the story is about what's happened 11:04.870 --> 11:06.653 with them visiting the ship, 11:08.140 --> 11:09.240 take advantage of the fact that you got 11:09.240 --> 11:11.702 the whole ship and it's okay to move. 11:11.702 --> 11:15.460 It's okay to try something different and get enough footage 11:15.460 --> 11:18.863 then when you come back, to have editing options. 11:20.340 --> 11:21.600 - Okay. 11:21.600 --> 11:23.850 Let's go ahead and move on to our next video. 11:30.314 --> 11:33.397 (loud chiming music) 11:36.220 --> 11:37.680 - The gun that you see behind me 11:37.680 --> 11:39.550 is a 14 inch battle ship gun 11:39.550 --> 11:42.570 from World War I that is mounted on a train. 11:42.570 --> 11:46.202 It's known as the US Navy Railroad Gun. 11:46.202 --> 11:49.285 (fast ominous music) 11:54.620 --> 11:56.107 So the whole reason why this gun was built 11:56.107 --> 12:00.270 in the first place was the Germans had, at the time, 12:00.270 --> 12:01.940 railroad guns that could fire 12:01.940 --> 12:04.130 well behind the lines of the Allies, 12:04.130 --> 12:06.070 and when the Americans joined the war, 12:06.070 --> 12:09.430 the Allies put in a request to the Americans 12:09.430 --> 12:11.240 to see if we had anything 12:11.240 --> 12:15.100 that could really get behind the German lines. 12:15.100 --> 12:17.730 The reason why the Navy built it was, 12:17.730 --> 12:21.430 well at the time, who had the biggest guns but the Navy? 12:21.430 --> 12:25.290 So they attached a big battleship gun to this train carriage 12:25.290 --> 12:29.130 and were able to hit well beyond the German lines, 12:29.130 --> 12:33.320 hitting railroad depots and troop assembly points, 12:33.320 --> 12:36.500 really breaking up several German tacts. 12:36.500 --> 12:40.550 The gun was designed right here in the Washington Navy yard, 12:40.550 --> 12:43.733 which at the time was known as the US Naval gun factory. 12:45.840 --> 12:48.940 From its first design to when it first fired 12:48.940 --> 12:52.750 in France was only 230 days, 12:52.750 --> 12:55.690 which is a very, very quick turnaround time, 12:55.690 --> 12:59.480 considering the manufacturing process and the transport 12:59.480 --> 13:03.563 and training of all of the crews who manned these guns. 13:05.210 --> 13:09.863 All of these guns were manned by US Navy personnel. 13:10.910 --> 13:12.380 So the guns that you see behind me, 13:12.380 --> 13:14.770 they are a 14 inch battleship gun, 13:14.770 --> 13:18.146 meaning the shells are 14 inches in diameter. 13:18.146 --> 13:22.850 These guns can fire those shells 42,000 yards, 13:22.850 --> 13:25.223 which is well behind German lines. 13:26.870 --> 13:29.310 The effects of these shells were devastating, 13:29.310 --> 13:33.510 hitting railroad depots and troop assembly points, 13:33.510 --> 13:35.883 really breaking up several German tacts. 13:36.960 --> 13:39.790 They were also some of the last guns that fired 13:39.790 --> 13:44.103 on the very last day of the war, on November 11th, 1918. 13:45.930 --> 13:48.260 The reason why the history of this gun 13:48.260 --> 13:50.643 and the stories of those sailors are important today 13:50.643 --> 13:53.800 is because we have sailors with boots on the ground 13:53.800 --> 13:57.700 not just on ships, working those specialized jobs. 13:57.700 --> 14:00.881 Not only are they doing that today, but they were also 14:00.881 --> 14:04.400 doing that 100 years ago during World War I. 14:06.910 --> 14:09.540 - Alright guys, so let's talk about this one. 14:09.540 --> 14:10.390 What do we think? 14:11.307 --> 14:12.200 - So I'll start. 14:12.200 --> 14:15.160 I mean I think it's a fantastic journalistic report. 14:15.160 --> 14:16.130 This is something you could see 14:16.130 --> 14:19.540 as a great segment on the local news station. 14:19.540 --> 14:21.710 The problem was with the final production, 14:21.710 --> 14:25.010 it was produced like a motivational video. 14:25.010 --> 14:27.660 So the use of audio, the sound, 14:27.660 --> 14:30.440 competed with the great narrator that you had, 14:30.440 --> 14:34.230 the great interview that you were doing. 14:34.230 --> 14:36.890 - Now, that that just played, 14:36.890 --> 14:39.101 I want to let everyone know that that was actually 14:39.101 --> 14:42.078 a transition in the piece, it wasn't something that-- 14:42.078 --> 14:43.170 - It was an effect, yeah. 14:43.170 --> 14:45.180 - That just is sort of flashing on your screen. 14:45.180 --> 14:46.193 - And I think that's just it, 14:46.193 --> 14:48.690 the use of those types of techniques are good 14:48.690 --> 14:51.850 for a different style or type of finished product, 14:51.850 --> 14:54.000 so sort of knowing what your finished product 14:54.000 --> 14:58.280 is supposed to be helps you focus in the editing process. 14:58.280 --> 14:59.620 A lot of those things weren't needed 14:59.620 --> 15:03.930 'cause it's a killer story, it's very well written 15:03.930 --> 15:07.910 and it's very well narrated and, I think we were discussing, 15:07.910 --> 15:10.650 there's some fantastic footage in this too, right? 15:10.650 --> 15:12.590 So I'm gonna let you finish. 15:12.590 --> 15:16.520 - I just really enjoyed the historical footage. 15:16.520 --> 15:19.027 The ability to dive in and deep dive 15:19.027 --> 15:22.550 and to get all this footage together was amazing 15:22.550 --> 15:24.930 because he has just such an amazing process 15:24.930 --> 15:26.274 that I guarantee most people just 15:26.274 --> 15:27.660 have never even heard of it. 15:27.660 --> 15:29.810 So, that was phenomenal. 15:29.810 --> 15:33.500 But again, I really struggled with the glitchiness 15:33.500 --> 15:35.930 in the beginning that was kind of built in, 15:35.930 --> 15:38.290 and then not lighting the subject. 15:38.290 --> 15:40.330 The separation of having him in front of the gun 15:40.330 --> 15:42.820 was great where, you know, his composition, 15:42.820 --> 15:46.500 but I really struggled with the subject not being lit 15:46.500 --> 15:49.889 to bring him off of that cannon to really drive that home. 15:49.889 --> 15:52.216 And the audio was a struggle. 15:52.216 --> 15:55.420 I think when we get into our headphones at times 15:55.420 --> 15:57.450 and we're editing and we're jamming, 15:57.450 --> 15:59.890 the audio kind of comes tail-end, 15:59.890 --> 16:01.390 and if you don't spend the time 16:01.390 --> 16:04.660 to properly work your levels and modulate your audio, 16:04.660 --> 16:06.700 you have this really harsh competing 16:06.700 --> 16:10.250 when it goes to broadcast and you watch it live, 16:10.250 --> 16:12.090 then you realize stuff starts really competing 16:12.090 --> 16:14.543 and it's hard to get the message across. 16:14.543 --> 16:17.110 - So I guess the advice here would be 16:17.110 --> 16:18.534 you've got to take the cans off 16:18.534 --> 16:22.330 and listen to it in real time to be able to hear that. 16:22.330 --> 16:23.830 - Yeah, absolutely. 16:23.830 --> 16:24.980 - Okay. 16:24.980 --> 16:27.093 Alright, let's move on to our next video. 16:38.056 --> 16:40.973 (soft piano music) 16:44.631 --> 16:47.930 - What we are doing today is actually pouring out 16:47.930 --> 16:51.380 the concretion that is embedded into the core. 16:51.380 --> 16:54.790 It's been over 200 years of build up. 16:54.790 --> 16:59.790 Sand, sediment, and corrosion just almost seeing that, 16:59.810 --> 17:03.830 and so what I'm having to do is actually use an augur 17:03.830 --> 17:08.080 and taking a drill and trying to slowly drill through 17:08.080 --> 17:10.320 that really tough concretion. 17:10.320 --> 17:13.070 (drill whizzing) 17:15.640 --> 17:19.620 So concretion is sort of the build up over time 17:19.620 --> 17:23.480 of sand, sediment, and corrosion products, 17:23.480 --> 17:26.720 mainly iron, that sort of out over time, 17:26.720 --> 17:28.710 it just cements all together. 17:28.710 --> 17:32.660 The longer it sits there and does that, the harder it gets. 17:32.660 --> 17:35.830 So this has been over 200 years worth of build up. 17:35.830 --> 17:37.960 It's almost like concrete. 17:37.960 --> 17:40.710 (water splashes) 17:48.630 --> 17:51.330 And what I'll do is continue on with the same process, 17:51.330 --> 17:54.621 but if you look inside you can actually, 17:54.621 --> 17:58.523 I don't know if you can see, the progress. 17:59.500 --> 18:03.680 And I'll continue that until it is completely deconcreted 18:04.950 --> 18:06.810 and then we'll go on to the next stage 18:06.810 --> 18:10.480 of finishing desalination and then stabilization. 18:19.937 --> 18:22.687 (drill whizzing) 18:36.268 --> 18:38.101 - Okay, wanna jump in? 18:39.120 --> 18:40.670 - Sure. 18:40.670 --> 18:44.040 Again, this is a really, really cool subject matter. 18:44.040 --> 18:45.970 Restoring these cannons and seeing some 18:45.970 --> 18:48.233 of this incredible history stuff. 18:49.107 --> 18:50.790 So it really pulled me in initially 18:50.790 --> 18:52.170 when I started watching it 18:52.170 --> 18:55.390 but I just really struggled with this piece. 18:55.390 --> 18:57.340 At the end, it just kind of died off at the end, 18:57.340 --> 18:58.850 we didn't know what happened with the cannon, 18:58.850 --> 19:02.563 there was no closure as to where we went with it. 19:03.686 --> 19:07.450 Having your subject spend half the time talking 19:07.450 --> 19:12.450 with a mask on and a mask off really puts an audience off. 19:12.780 --> 19:16.530 It really, it's just very hard to listen to somebody talk 19:16.530 --> 19:19.400 when they have something physically over their mouth. 19:19.400 --> 19:20.750 - Exactly. 19:20.750 --> 19:25.750 No, again, we seem to agree, but it's basic principles. 19:26.470 --> 19:31.200 There's an opportunity to get a lot of the interview content 19:31.200 --> 19:35.100 and then be able to cut that in to the action, 19:35.100 --> 19:39.300 because the action is visually interesting, sucks you in. 19:39.300 --> 19:40.840 So it's just sort of learning that balance 19:40.840 --> 19:43.970 that it doesn't all, if she's saying something great, 19:43.970 --> 19:46.550 take a pause, take the mask off, have her repeat it 19:46.550 --> 19:48.500 so it really looks like an interview portion 19:48.500 --> 19:49.810 that you're blending and editing 19:49.810 --> 19:52.840 into the actual action version. 19:52.840 --> 19:54.390 But yeah, I'm still left wondering, 19:54.390 --> 19:57.470 I want to know what happens, that's the problem, 19:57.470 --> 19:59.460 and not necessarily in a cliffhanger good way. 19:59.460 --> 20:01.883 It's in a way of like, wait, okay. 20:03.840 --> 20:04.673 And it's a pause. 20:04.673 --> 20:08.763 So having a little closure to the piece would be helpful. 20:10.136 --> 20:12.893 - Alright, let's take a look at our next piece. 20:18.089 --> 20:23.089 - Are we off? - I'm not. 20:45.158 --> 20:48.825 (dramatic orchestral music) 21:30.510 --> 21:33.590 - Unfortunately, the sound was down here in the studio, 21:33.590 --> 21:36.250 so let's go ahead and take a look at that again. 21:36.250 --> 21:37.113 - Yeah, sure. 21:44.807 --> 21:47.877 - I think I just threw them for a whirl, I'm sorry. 21:47.877 --> 21:49.130 - Well it's important for the people who are watching 21:49.130 --> 21:51.177 on the stream to hear it because I do remember this piece 21:51.177 --> 21:55.113 and there was actually good use of audio with it. 21:56.170 --> 21:57.680 - Yeah. 21:57.680 --> 21:58.513 - There you go. 21:58.513 --> 22:01.646 (energetic rock music) 22:04.583 --> 22:06.666 - Is it-- - It looks like. 22:24.175 --> 22:25.342 - [Solider] Shot directly at one of them, 22:25.342 --> 22:27.342 you and me to the right. 22:47.730 --> 22:49.803 - Okay, well let's talk a little bit about 22:49.803 --> 22:51.773 (laughing) about what we just saw. 22:53.530 --> 22:54.860 I mean this is kind of a peel room, 22:54.860 --> 22:56.050 I don't know how many times you've had 22:56.050 --> 22:59.088 an opportunity to attend a training like that. 22:59.088 --> 23:02.540 - I misread your thoughts. - Never, so it was fun. 23:02.540 --> 23:04.670 'Cause you see that kind of activity in movies 23:04.670 --> 23:07.660 but it was fun to see it 23:07.660 --> 23:09.660 from a training exercise perspective. 23:09.660 --> 23:13.500 So let's put it this way, from an informational video 23:13.500 --> 23:16.103 that got me excited about the type of activity 23:16.103 --> 23:19.800 that our military is doing to be prepared, it worked, 23:19.800 --> 23:21.710 which, I would think, was the intent. 23:21.710 --> 23:23.630 There was a very clear intent which was, 23:23.630 --> 23:25.470 this is exciting, it's hard work, 23:25.470 --> 23:30.190 but it was done in a really pithy, 23:30.190 --> 23:32.207 right in your face, this is where it's going, 23:32.207 --> 23:34.210 but there was some great effects, 23:34.210 --> 23:37.240 it was a good balance of, let's say, the special effects 23:37.240 --> 23:40.250 that we can sometimes get a little carried away with. 23:40.250 --> 23:43.160 But it was done well, the mix between slow motion 23:43.160 --> 23:46.543 and some of the editing was, I wasn't expecting it. 23:47.620 --> 23:49.640 So, it's good camera work, it's a good blend 23:49.640 --> 23:52.520 of different types of footage and pulled together. 23:52.520 --> 23:53.840 And, yeah, I walked away feeling like, 23:53.840 --> 23:56.723 wow, that looks awesome (laughs), you know? 23:59.340 --> 24:00.740 Which is all you can hope from a video, right, 24:00.740 --> 24:02.535 at the end of the day is that the audience goes, 24:02.535 --> 24:05.250 oh I get it and that was awesome, you know? 24:05.250 --> 24:09.080 Or whatever emotion you wanted to elicit. 24:10.573 --> 24:14.174 - Well, for me, I see a lot of this type of work. 24:14.174 --> 24:15.230 (laughing) 24:15.230 --> 24:17.500 So I would say I'm a little more judgemental 24:17.500 --> 24:21.620 when I see this kinda stuff, in a good way. 24:21.620 --> 24:25.640 I think that the way that this was produced 24:25.640 --> 24:29.330 was very overt on purpose and I love that. 24:29.330 --> 24:33.810 The use of slow motion to, kind of, 24:33.810 --> 24:35.310 dramaticize what they're doing 24:36.240 --> 24:37.740 really, really helps the message. 24:37.740 --> 24:40.100 I think, I agreed to your point, 24:40.100 --> 24:42.040 you're hit in the face and you're like, 24:42.040 --> 24:44.470 yeah, you know, this is awesome. 24:44.470 --> 24:45.870 Very worked on. 24:45.870 --> 24:50.630 This video is filtered, it is tuned, 24:50.630 --> 24:52.130 it is cut, it is chopped, 24:52.130 --> 24:55.990 and that's great but sometimes it can be overdone. 24:55.990 --> 24:58.040 I liked the use of quadcopter. 24:59.048 --> 25:03.220 I think that the use of quadcopter is extremely subtle. 25:03.220 --> 25:04.440 I think most people wouldn't have 25:04.440 --> 25:07.210 even recognized it was in there. 25:07.210 --> 25:10.190 As soon as I saw it, I could put my finger on it 25:10.190 --> 25:12.220 because of the kind of shot that it was 25:12.220 --> 25:13.670 and I think it was an incredible use 25:13.670 --> 25:15.170 because it was seamless. 25:15.170 --> 25:16.518 You'd have to know what you were looking for 25:16.518 --> 25:18.382 to pick that outta the crowd. 25:18.382 --> 25:22.640 The one thing I will say, this thing came in like a lion 25:22.640 --> 25:24.340 and it kinda went out like a lamb. 25:25.180 --> 25:27.700 So, the ending, just having people just kinda 25:27.700 --> 25:30.360 running away, running through, 25:30.360 --> 25:33.500 and then, I know very well in a Marine mind, 25:33.500 --> 25:35.720 it's like, hey, you finish, and you push through. 25:35.720 --> 25:37.520 That's a very Marine Corps thing to do 25:37.520 --> 25:39.600 but in this case, it's a production 25:39.600 --> 25:44.150 and we needed it to finish as strong as it actually started. 25:44.150 --> 25:49.150 - So, your advice, 'cause you've shot these things before, 25:49.351 --> 25:51.923 many times. - Yeah, yeah. 25:52.900 --> 25:55.523 - It's hard, 'cause there's some repeat action that goes on. 25:55.523 --> 25:56.356 - Correct. 25:56.356 --> 25:58.990 - But to really capture what it feels like 25:58.990 --> 26:01.700 to be here is a little more difficult. 26:01.700 --> 26:03.830 So, do you have any advice 26:03.830 --> 26:06.330 for anyone who's kind of going out there 26:06.330 --> 26:08.330 and everything's happening like this. 26:08.330 --> 26:11.440 - Yeah, any of these things, 26:11.440 --> 26:15.420 when you're doing this kind of work, the pre-production, 26:15.420 --> 26:18.300 even in a mount facility in urban terrain, 26:18.300 --> 26:20.850 the pre-production, if you're gonna film it and produce it, 26:20.850 --> 26:22.590 you have to do your pre-production. 26:22.590 --> 26:24.260 You have to know what you're going into 26:24.260 --> 26:26.850 because when you start filming in that environment, 26:26.850 --> 26:27.970 all bets are off. 26:27.970 --> 26:32.540 It gets so busy and so, it gets so out of control. 26:32.540 --> 26:33.910 You're working with controllers, 26:33.910 --> 26:35.600 you're trying to be in the right place, 26:35.600 --> 26:37.050 you're trying to not get in people's way 26:37.050 --> 26:39.249 but still be in front of the action, 26:39.249 --> 26:42.870 and that can take a videographer 26:42.870 --> 26:45.900 and suck them so far in that they just lose context. 26:45.900 --> 26:50.900 And I don't think that this cinematographer lost context, 26:51.530 --> 26:52.950 I think that they did extremely well, 26:52.950 --> 26:56.930 but pre-production guides and rules in this environment, 26:56.930 --> 27:01.140 and closing, a strong closer, you have to script that, 27:01.140 --> 27:03.000 you have to plan for something if you're gonna produce 27:03.000 --> 27:06.130 at this level and especially a non-narrative, right? 27:06.130 --> 27:09.700 So we did this massive non-narrative and we all said, whoa, 27:09.700 --> 27:13.040 this is telling me, I'm evoking emotion out of this, 27:13.040 --> 27:15.700 but it's a non-narrative so you've gotta 27:15.700 --> 27:17.890 put the stamp on the end of it. 27:17.890 --> 27:19.040 - Didn't we always say, 27:19.940 --> 27:22.330 back in my days of DINFOS Broadcasting, 27:22.330 --> 27:24.664 that your strongest shot is your end shot? 27:24.664 --> 27:25.880 - Is your last shot, absolutely. 27:25.880 --> 27:29.350 - So something to kinda keep in mind when you're out there. 27:29.350 --> 27:32.382 Okay, let's go ahead and take a look at our next video. 27:32.382 --> 27:35.715 (slow electronic music) 27:39.029 --> 27:40.690 (gunfire echoes) 27:40.690 --> 27:42.600 - The role of an NCO is important 27:42.600 --> 27:44.790 because that is the first level 27:44.790 --> 27:47.543 of teacher that a junior Marine has. 27:48.430 --> 27:51.680 NCOs train their Marines to win our nation's battles 27:51.680 --> 27:54.510 through rigorous, challenging training, 27:54.510 --> 27:58.510 challenging them and as well as teaching them, 27:58.510 --> 28:03.510 so every time they get challenged they also learn something. 28:03.516 --> 28:06.766 (rapid gunfire echoes) 28:14.990 --> 28:17.370 Teaching, coaching, and mentoring, to me, 28:17.370 --> 28:20.930 is everything that there is about instructing a Marine. 28:20.930 --> 28:23.500 You want to teach them how to do something 28:23.500 --> 28:25.460 and then when they attempt it for the first time, 28:25.460 --> 28:28.390 you wanna coach them on how they're doing it 28:28.390 --> 28:30.530 and once they've accomplished the task, 28:30.530 --> 28:33.660 you mentor them and show them, hey this may work better, 28:33.660 --> 28:36.760 this is what you did good, this is what you did bad. 28:46.150 --> 28:48.670 NCOs make their Marines more lethal 28:48.670 --> 28:52.740 through practicing violence of action on a daily basis. 28:52.740 --> 28:55.490 Working your Marines to be aggressive 28:55.490 --> 28:59.420 and intelligent and physically fit 28:59.420 --> 29:02.953 is the easiest way to make your Marines more lethal. 29:10.590 --> 29:11.520 - [Claudia] That's interesting. 29:11.520 --> 29:12.353 - [Host] Okay. 29:12.353 --> 29:13.463 - [Claudia] The way they wrapped, ending it. 29:13.463 --> 29:14.296 - [Clint] Are we hot? 29:14.296 --> 29:15.129 - [Host] Yeah. 29:15.129 --> 29:15.962 - [Claudia] Oh, we are, okay. 29:15.962 --> 29:17.790 (laughs) 29:17.790 --> 29:22.790 - So, anyway, we talk about the video as it's going along. 29:22.817 --> 29:25.350 Just so you know, we're playing along here 29:25.350 --> 29:27.180 as you play along at home. 29:27.180 --> 29:29.201 Okay guys, what'd you think? 29:29.201 --> 29:31.402 - I just said wow at the end 29:31.402 --> 29:33.690 because it was the similar feeling 29:33.690 --> 29:35.950 which is there is this great open. 29:35.950 --> 29:38.640 We were talking about all these complimentary things 29:38.640 --> 29:41.690 about the techniques used and all of it, 29:41.690 --> 29:44.803 but the close, it just ends. 29:46.100 --> 29:48.342 And it is, it's a great story, I'm sucked in, 29:48.342 --> 29:53.320 there's so much I love about this videographer themselves 29:53.320 --> 29:55.780 because I could tell their style 29:55.780 --> 29:58.600 and you can instantly know that it's the same videographer 29:58.600 --> 30:00.000 as the one that we just saw. 30:00.950 --> 30:03.300 There's some good things, but there's a couple of big 30:03.300 --> 30:06.180 distractions and some of it is during the interview process 30:06.180 --> 30:11.180 but then definitely the end, it's an abrupt, that's it, 30:11.280 --> 30:14.780 just flat and it almost destroys all this great stuff 30:14.780 --> 30:16.743 that we were admiring. 30:16.743 --> 30:19.108 - Right, right. 30:19.108 --> 30:22.894 Same thing, I absolutely love the imagery. 30:22.894 --> 30:27.020 The quality, so one of the things I wanna note is, 30:27.020 --> 30:28.750 you have to have the right equipment 30:28.750 --> 30:31.500 and you can tell that the equipment 30:31.500 --> 30:35.040 being used to shoot this was very high end gear. 30:35.040 --> 30:36.760 You cannot shoot like this without having 30:36.760 --> 30:38.560 the right equipment. 30:38.560 --> 30:41.270 So its very obvious that the videographer 30:41.270 --> 30:43.520 was using the right gear to produce this. 30:43.520 --> 30:47.390 The panning shots, these moving shots where you're walking 30:47.390 --> 30:49.751 and it's steady with the gimbal, 30:49.751 --> 30:52.520 it's very obvious to see that. 30:52.520 --> 30:56.900 The use of nat sound in certain places was amazing, 30:56.900 --> 30:59.880 you'd hear a boom, you'd see it and then, 30:59.880 --> 31:02.300 the biggest problem that I had, 31:02.300 --> 31:06.280 was that I love hearing that underlying sound, 31:06.280 --> 31:09.060 but then other times where somebody was gonna kick in a door 31:09.060 --> 31:11.030 or something was gonna explode there was no nat sound 31:11.030 --> 31:12.840 behind it and I was just beggin' for it, 31:12.840 --> 31:15.620 I was like, oh, this is the time, let me hear the boom, 31:15.620 --> 31:19.660 or whatever but I thought it was well done, 31:19.660 --> 31:21.900 but again I think that pre-production reigns 31:21.900 --> 31:25.810 in these environments and if you don't script a good close, 31:25.810 --> 31:27.170 if you don't think about 31:27.170 --> 31:30.980 and you don't plan for a good close, you don't get it 31:30.980 --> 31:33.760 and this had all the makings for a non-narrative, 31:33.760 --> 31:36.420 it had all of this great stuff going on, 31:36.420 --> 31:37.740 and then we just, we went-- 31:37.740 --> 31:40.346 - It's not enough just to use the video bumper at the end. 31:40.346 --> 31:41.600 I mean, that's great for identification, 31:41.600 --> 31:43.897 it's not the close to your piece, you know. 31:43.897 --> 31:44.853 - Right, right. 31:46.020 --> 31:49.400 And I think that, I'll finish with this, 31:49.400 --> 31:52.820 the interview, I struggled with the interview 31:52.820 --> 31:54.900 'cause it was very difficult to actually get 31:54.900 --> 31:57.127 what he was trying to deliver. 31:57.127 --> 31:58.130 - Yeah. 31:58.130 --> 31:59.430 - Did the shots work for you? 31:59.430 --> 32:01.271 - It was almost, well, look, 32:01.271 --> 32:06.271 I appreciate that someone was looking at producing those 32:06.920 --> 32:09.840 and I think that it was thought out 32:09.840 --> 32:10.980 what those camera angles were. 32:10.980 --> 32:14.091 Unfortunately, they just didn't necessarily work 32:14.091 --> 32:16.720 (laughs) for me, you know? 32:16.720 --> 32:20.380 I think some of the artistic, and sometimes 32:20.380 --> 32:22.430 you can go a little crazy with that. 32:22.430 --> 32:23.770 So it's okay to take a step back 32:23.770 --> 32:25.770 and just take a look at that shot again, 32:25.770 --> 32:28.970 set it up again, and maybe even get several more 32:28.970 --> 32:32.240 camera angles so that in the editing afterwards, 32:32.240 --> 32:36.570 you can assess your on-site judgements a little bit 32:36.570 --> 32:40.520 and go, well maybe that artistic thought of the side pan, 32:40.520 --> 32:43.887 maybe I don't wanna have the entire conversation be that, 32:43.887 --> 32:47.339 'cause it's just not appropriate for, 32:47.339 --> 32:49.973 for what I was watching right here, right now. 32:51.520 --> 32:53.270 Anyway, I don't know what you're thoughts were. 32:53.270 --> 32:55.880 - Overall, I think it was, - No, yes... 32:55.880 --> 32:57.530 - We're being hyper, hyper critical. 32:57.530 --> 32:58.918 - I was about to say, we're being very critical, 32:58.918 --> 33:02.260 we're nitpicking and I don't know why because it is, 33:02.260 --> 33:04.700 maybe it is because it's such a great piece 33:04.700 --> 33:07.225 and you're right, it's a good use of technology 33:07.225 --> 33:09.430 but with an artistic eye 33:09.430 --> 33:11.640 and so it's almost disappointing that 33:11.640 --> 33:14.550 when we fall flat and those little, little things. 33:14.550 --> 33:16.740 - Well, I mean, this is, we're talking about 33:16.740 --> 33:19.409 videographer of the year, so that's the deal. 33:19.409 --> 33:20.242 - Okay you made me feel better now. 33:20.242 --> 33:22.677 - It's videographer of the year, the whole year, 33:22.677 --> 33:24.422 for the whole Department of Defense, so I'm okay. 33:24.422 --> 33:26.481 Let's do this. - Okay, thank you. 33:26.481 --> 33:29.060 - But the important thing is, the points that you guys 33:29.060 --> 33:32.250 are bringing out, it's not just talking about, 33:32.250 --> 33:35.270 here's what's wrong with it, we're offering some ways 33:35.270 --> 33:39.320 that it could've been fixed, so don't worry about that. 33:39.320 --> 33:41.830 Again, if you are just joining us, 33:41.830 --> 33:44.690 in the studio with me is Claudio Barbiero, 33:44.690 --> 33:45.940 I can never get that out quite good. 33:45.940 --> 33:48.520 - That was good, (laughs) it's a lot of vowels. 33:48.520 --> 33:51.400 - And Chief Warrant Officer 4 Runyon, 33:51.400 --> 33:54.883 so we're gonna go ahead and move on to our next video. 33:57.170 --> 33:58.880 - [Soldier] We are the Aerosol Task Force, 33:58.880 --> 34:01.240 so we are inserted via 53 34:01.240 --> 34:04.735 and then we were ordered to seize an objective. 34:04.735 --> 34:08.068 (soft electronic music) 34:14.090 --> 34:16.780 - Went from there to a support-by-fire position 34:16.780 --> 34:20.700 to support maneuver and then the attack initiated 34:20.700 --> 34:22.967 with indirect fires. 34:22.967 --> 34:24.647 (gunfire echoes) 34:24.647 --> 34:28.314 - Get your squad, contact TRP-13 in the air! 34:32.760 --> 34:37.760 - [Soldier] Hey, orient to TRB-2! 34:50.324 --> 34:53.574 (upbeat dubstep music) 35:13.940 --> 35:16.620 - Night fire tonight, we're gonna be having 35:16.620 --> 35:18.990 a mechanized unit coming against us, 35:18.990 --> 35:22.170 so we established a defense. 35:22.170 --> 35:23.760 We're gonna be having rockets 35:23.760 --> 35:26.734 going off next to us with the AP-4's. 35:26.734 --> 35:28.137 - [Radio] R2 actual, you are approved to engage. 35:29.331 --> 35:32.248 (explosion echoes) 35:33.733 --> 35:36.483 (gunfire echoes) 35:43.618 --> 35:48.201 (gunfire drowns out soldiers shouting) 36:03.370 --> 36:05.270 - I don't know guys, wow, wow. 36:05.270 --> 36:06.446 What'd ya think? 36:06.446 --> 36:09.050 - Once again, I love it. 36:09.050 --> 36:10.350 I love the footage. 36:10.350 --> 36:12.050 We were just in awe a little bit about 36:12.050 --> 36:15.050 some of the night camera work. 36:15.050 --> 36:19.740 Visually, it's some of the more beautiful video we've seen 36:19.740 --> 36:22.170 throughout the whole competition and all the entries. 36:22.170 --> 36:25.500 And again, minor little things, 36:25.500 --> 36:27.930 but sometimes maybe what we're talking about in terms 36:27.930 --> 36:31.920 of the interview portion of it isn't typically 36:31.920 --> 36:36.443 or traditionally the person behind the video camera's job. 36:38.960 --> 36:41.560 Back in the day, you had a whole crew of people. 36:41.560 --> 36:45.800 When it's just you, you do wear a bunch of different hats 36:45.800 --> 36:48.140 and sometimes it can be difficult to say, 36:48.140 --> 36:50.270 oh no, I also have to step in front and go, 36:50.270 --> 36:53.190 maybe we should ask them to remove the glasses, 36:53.190 --> 36:55.400 maybe someone's not comfortable yet 36:55.400 --> 36:57.868 and I'm gonna also, you know, 36:57.868 --> 37:02.031 (laughs) help them be relaxed. 37:02.031 --> 37:02.864 (laughing) 37:02.864 --> 37:07.453 There's things that you now have to do all yourself. 37:08.380 --> 37:10.670 So, the things that we're noticing is because, 37:10.670 --> 37:12.960 oh, if I'd been there, I would've done this. 37:12.960 --> 37:14.720 We have to remember this is one person 37:14.720 --> 37:17.980 producing from start to finish, capturing all the content. 37:17.980 --> 37:20.000 Beautiful, beautiful shots that make you feel 37:20.000 --> 37:22.242 like you are right there. 37:22.242 --> 37:24.820 Great editing, good use of sound. 37:24.820 --> 37:26.130 So it's like, nitpicking things. 37:26.130 --> 37:27.519 Oh, if I had done that I may have asked him 37:27.519 --> 37:30.000 to take his hat off or I may have 37:31.347 --> 37:33.740 tried to move it a little bit over here. 37:33.740 --> 37:34.820 I don't know what you have to say, 37:34.820 --> 37:38.160 but it's nitpicking. 37:38.160 --> 37:42.550 - Yeah, from the Marine side of the house, 37:42.550 --> 37:43.800 we've seen it a million times, 37:43.800 --> 37:46.229 every Corporal that's ever told to do an interview 37:46.229 --> 37:47.062 (host laughing) 37:47.062 --> 37:51.806 sits there and says, yes, no, but you've gotta get that guy 37:51.806 --> 37:55.920 to take his boonie cover off, to take his glasses off, 37:55.920 --> 37:57.820 to go under a cover instead of being out 37:57.820 --> 37:59.600 in the broad daylight like that, 37:59.600 --> 38:01.773 which is just burning through this video. 38:02.760 --> 38:05.683 Shooting in the desert is just, it's insanely hard. 38:06.790 --> 38:08.900 You have to have all of your filters, 38:08.900 --> 38:12.270 you have to have, you're in ND overdrive, 38:12.270 --> 38:16.451 trying to kill all of that extra light. 38:16.451 --> 38:19.700 Your neutral-density filters are just critical 38:19.700 --> 38:23.700 and in that environment, you're doing it times 10. 38:23.700 --> 38:25.460 Technically, from a technical standpoint, 38:25.460 --> 38:28.560 to properly expose in that open environment 38:28.560 --> 38:31.750 and I have shot in that environment 38:31.750 --> 38:33.370 for years and years and years, 38:33.370 --> 38:35.760 it is incredibly hard to expose out there 38:35.760 --> 38:38.630 and get well exposed shot work. 38:38.630 --> 38:40.490 And I think that the videographer did that, 38:40.490 --> 38:43.510 I think that she did get well exposed shot work. 38:43.510 --> 38:46.350 It is filtered, it's heavily filtered, 38:46.350 --> 38:48.957 and the interview was tough. 38:48.957 --> 38:51.570 You could tell the corporal wasn't super into 38:51.570 --> 38:53.280 sittin' there talkin' about it, 38:53.280 --> 38:56.146 but I think that in the grand scheme of things 38:56.146 --> 38:59.300 she put a lot of work into producing this. 38:59.300 --> 39:01.903 And some of the stuff, like her impact zone, 39:01.903 --> 39:04.590 getting the actual impacts, 39:04.590 --> 39:07.933 and some of the aircraft stuff really added, really added. 39:09.780 --> 39:12.040 - I will say that this is my third year 39:12.040 --> 39:14.640 hosting this feedback session 39:14.640 --> 39:18.523 and the one thing I hear resounding from each year 39:18.523 --> 39:21.460 is that you have all this amazing B-roll 39:21.460 --> 39:24.400 but then your interview shot is very stagnant. 39:24.400 --> 39:26.207 - Yep, yeah. 39:26.207 --> 39:28.630 - If you had to offer a little bit of advice, 39:28.630 --> 39:30.100 knowing of course the harsh environment, 39:30.100 --> 39:31.600 you're working on your own, 39:31.600 --> 39:34.113 how could that interview shot had been made, 39:35.090 --> 39:35.923 well I mean other than 39:35.923 --> 39:37.860 getting the corporal to have some energy, 39:37.860 --> 39:41.590 how could that shot had been done differently that would've 39:41.590 --> 39:45.880 been in keeping maybe with the B-roll as well as 39:45.880 --> 39:50.110 the movement and pentameter of that piece. 39:50.110 --> 39:50.943 Any advice? 39:52.350 --> 39:53.610 - I don't know if you want to hear what I have to say, 39:53.610 --> 39:55.610 but I don't know what the rules and regulations are 39:55.610 --> 39:58.680 I don't know what the instruction was for the piece 39:58.680 --> 40:02.940 and what the need was, but that's a hard decision 40:02.940 --> 40:05.126 that I would make to say cut it all together 40:05.126 --> 40:08.240 and use a different method of communicating it. 40:08.240 --> 40:11.080 If you're in a situation where the subject just 40:11.080 --> 40:16.080 is not good on camera, it's okay to say I can't use it. 40:18.310 --> 40:22.780 The other is, in this case, it was a beautiful setting. 40:22.780 --> 40:25.450 These are some things that maybe just weren't noticed. 40:25.450 --> 40:28.010 Visually, it was okay and it's nice to have that break 40:28.010 --> 40:29.960 to see a face that's speaking, 40:29.960 --> 40:33.280 but in some cases, again, depending on the piece 40:33.280 --> 40:37.229 and how long it is, it's okay to not cut to the face shot 40:37.229 --> 40:39.873 and just use the voiceover. 40:41.650 --> 40:44.430 Fix it in post and get someone else to repeat what he said 40:44.430 --> 40:47.020 or get him to rerecord it later on. 40:47.020 --> 40:48.260 That's another thing, sometimes people say 40:48.260 --> 40:50.762 such great stuff in the environment but the audio's bad, 40:50.762 --> 40:54.870 or the lighting's bad, you can have them rerecord it later. 40:54.870 --> 40:57.720 That's the benefit of not doing it live, 40:57.720 --> 40:59.120 is that you have that opportunity, 40:59.120 --> 41:01.360 so those are just a couple of ideas. 41:01.360 --> 41:03.693 - Now, sometimes those opportunities for us come, 41:03.693 --> 41:06.930 when you're out if the field, you've got it now, 41:06.930 --> 41:08.400 you've got it for 15 minutes, 41:08.400 --> 41:10.623 so that may not be your option, 41:10.623 --> 41:13.480 but those are some good ideas, 41:13.480 --> 41:16.590 even if you have that dry, somebody told me to be here, 41:16.590 --> 41:20.915 this is my place of duty, ask your questions. 41:20.915 --> 41:24.320 So, that comes down to interviewing techniques as well 41:24.320 --> 41:28.458 and sometimes that gets lost I think. 41:28.458 --> 41:33.458 Not here, per se, but just in general when I'm watching 41:33.580 --> 41:34.870 pieces that we've produced. 41:34.870 --> 41:35.784 - Yeah. 41:35.784 --> 41:39.221 - I think that, in a situation like this, 41:39.221 --> 41:41.199 these uncontrolled-- 41:41.199 --> 41:42.150 (coughs) Excuse me. 41:42.150 --> 41:44.160 These uncontrolled environments, 41:44.160 --> 41:45.720 you gotta shoot the interview, 41:45.720 --> 41:47.520 you gotta get the sound bite, you have to. 41:47.520 --> 41:49.800 You can always come full circle. 41:49.800 --> 41:51.630 You can always get him at dusk, 41:51.630 --> 41:53.890 when everybody has calmed down, it's not as weird 41:53.890 --> 41:57.010 or intense or whatever, you can shoot it afterwards, 41:57.010 --> 41:58.990 but I think that the smart thing 41:58.990 --> 42:00.230 what a lot of these folks are doing 42:00.230 --> 42:02.980 is they're at least getting a sound bite from somebody. 42:05.590 --> 42:07.660 Kind of what we were talking about before, 42:07.660 --> 42:11.780 interviews are a tough, tough deal in our world 42:11.780 --> 42:14.760 and we need, as a whole, as the DOD, 42:14.760 --> 42:16.940 as cinematographers and videographers, 42:16.940 --> 42:19.030 we need to do better at how 42:19.030 --> 42:22.430 we shoot and produce our interviews. 42:22.430 --> 42:24.563 - Yeah, I think it comes back again, 42:25.770 --> 42:27.260 you're not just a multimedia journalist, 42:27.260 --> 42:28.660 you're not just the videographer, 42:28.660 --> 42:30.410 you're not just the sound engineer. 42:31.340 --> 42:33.210 As we move forward in this industry, 42:33.210 --> 42:35.940 it is coming down to everybody doing it themselves, 42:35.940 --> 42:40.270 so learning those skills, how to ask questions, 42:40.270 --> 42:43.830 how to elicit that response that you're looking for, 42:43.830 --> 42:46.110 not being afraid to be the interviewer, 42:46.110 --> 42:48.010 not just the person behind the camera. 42:49.030 --> 42:50.930 That's a lot, that's asking a lot. 42:50.930 --> 42:51.820 - Yes. 42:51.820 --> 42:55.660 - But it all helps your finished product at the end. 42:55.660 --> 42:57.250 At the end of the day, this is your, 42:57.250 --> 43:00.507 you're the producer, this is your work, 43:00.507 --> 43:05.270 so it's okay to learn every aspect of that craft. 43:05.270 --> 43:09.570 Even trying to get a stone to blossom 43:09.570 --> 43:10.441 in front of the camera. 43:10.441 --> 43:11.730 (laughing) 43:11.730 --> 43:13.530 - Stones and blossoms, okay. 43:13.530 --> 43:15.900 - I will say, I didn't mind it that much in this piece. 43:15.900 --> 43:18.180 I thought he was, I don't know, for me, 43:18.180 --> 43:21.450 again, because I'm a little bit more objective 43:21.450 --> 43:23.680 'cause I'm on the outside, I expect a guy 43:23.680 --> 43:25.590 in that environment to be a little, 43:25.590 --> 43:26.750 yeah, yeah, yeah, yeah, yeah, 43:26.750 --> 43:27.657 you know what I mean? 43:27.657 --> 43:28.979 That was okay to me. 43:28.979 --> 43:31.229 (laughing) 43:32.570 --> 43:35.393 - Excellent, okay, let's move on to our next piece. 44:48.198 --> 44:51.365 (helicopter whirring) 45:29.930 --> 45:34.930 So, as we're sorta talking here in the studio 45:35.070 --> 45:37.020 a little bit about what we're watching, 45:38.320 --> 45:41.140 it's some interesting observations that you guys have had. 45:41.140 --> 45:44.010 - Yeah, this piece is... 45:45.560 --> 45:47.070 Look, this is a B-roll package, right? 45:47.070 --> 45:50.240 So, there's a lot of stuff in here where you're 45:50.240 --> 45:52.900 just seeing just raw cut work, 45:52.900 --> 45:55.140 and that's totally fine. 45:55.140 --> 45:57.580 We have produced gazillions of B-roll packages 45:57.580 --> 46:01.870 and I think that this is incredibly important 46:01.870 --> 46:03.330 because we're preserving 46:03.330 --> 46:07.510 the larger chunk of unedited imagery. 46:07.510 --> 46:09.310 This is really what the archive, 46:09.310 --> 46:11.130 the National Archives, up at NARA, 46:11.130 --> 46:13.730 this is what they actually need for future work. 46:13.730 --> 46:16.550 But, in saying that, we gotta do our work. 46:16.550 --> 46:18.300 We've gotta do our clean up work. 46:18.300 --> 46:20.120 There's a lot of slo-mo in this 46:20.120 --> 46:22.620 that is put into a B-roll package which is, 46:22.620 --> 46:24.980 I'm not saying it's not okay, 46:24.980 --> 46:27.420 but it's not usual to do effect work 46:27.420 --> 46:30.433 on a B-roll package for preservation. 46:31.270 --> 46:33.180 But then we have audio that kicks in 46:34.140 --> 46:37.670 and then audio that vanishes when we go to slo-mo 46:37.670 --> 46:39.410 So we go from this over-peaking, 46:39.410 --> 46:41.340 hot audio to just dead zone 46:41.340 --> 46:43.340 and we just ping pong kinda back and forth. 46:43.340 --> 46:46.960 So it's kinda hard in a raw form to view it that way. 46:46.960 --> 46:49.380 But the imagery, the imagery is beautiful. 46:49.380 --> 46:52.290 There's some reveals, there's great helicopter. 46:52.290 --> 46:55.010 Obviously, everybody wants to see MV-22 Osprey 46:55.010 --> 46:58.190 imagery today, that's kinda what's going on, 46:58.190 --> 47:00.220 so it's great to see that. 47:00.220 --> 47:02.240 But, yeah, there's some technical stuff. 47:02.240 --> 47:04.130 - So, I look at it as if I was editing 47:04.130 --> 47:06.730 a piece for the evening news. 47:06.730 --> 47:09.530 I would be completely excited to have this footage, 47:09.530 --> 47:10.850 but you hit the nail on the head. 47:10.850 --> 47:14.050 I would never be able to use slow motion graphics, 47:14.050 --> 47:16.190 not for a news segment. 47:16.190 --> 47:18.540 If I was doing a larger piece, being able to have this, 47:18.540 --> 47:23.180 great, but I would prefer to choose those effects or not. 47:23.180 --> 47:26.730 And the natural ambient sound is important to have 47:26.730 --> 47:28.606 because you never know when I might need that. 47:28.606 --> 47:31.230 I look at it as, getting a B-roll package, 47:31.230 --> 47:32.970 let's say you were doing a video news release 47:32.970 --> 47:34.850 to announce the latest and greatest 47:34.850 --> 47:38.830 on the local news station, I need all of that. 47:38.830 --> 47:42.260 But with that said, there's beautiful footage here 47:42.260 --> 47:45.413 that I would be completely excited to have to work with. 47:46.637 --> 47:51.110 - And I think this goes back to an inherent concern 47:51.110 --> 47:52.440 that we have across the DOD, 47:52.440 --> 47:55.884 and that is what are the standards for us producing 47:55.884 --> 47:59.200 B-roll packages for permanent preservation. 47:59.200 --> 48:02.950 In other words, this package has amazing imagery 48:02.950 --> 48:05.130 but then there's slo-mo work on it, okay, 48:05.130 --> 48:07.650 we've killed the audio out of those segments. 48:07.650 --> 48:09.710 I needed that, I need that preserved. 48:09.710 --> 48:11.086 And then the other thing that I have, 48:11.086 --> 48:14.170 and I saw this kind of as a theme 48:14.170 --> 48:16.800 that I've noticed throughout a lot of these B-roll, 48:16.800 --> 48:21.460 there are absolutely no sound bites in any of them. 48:21.460 --> 48:24.150 There is just segments of footage. 48:24.150 --> 48:28.090 So there's no accompanying interview, even sound bites, 48:28.090 --> 48:30.290 to accompany what we're seeing in footage. 48:30.290 --> 48:33.340 So unless you have amazing metadata, 48:33.340 --> 48:36.150 you've got no reference point off of... 48:36.150 --> 48:38.420 And if I'm building packages off of this B-roll, 48:38.420 --> 48:40.470 which is what we do a lot of, 48:40.470 --> 48:43.170 if I'm building something off of this B-roll, 48:43.170 --> 48:44.300 I need that other person. 48:44.300 --> 48:45.940 I need somebody saying something, 48:45.940 --> 48:48.017 giving me a bite, a bite somewhere. 48:48.017 --> 48:52.140 - And that's, some of the stuff that we've had happen 48:52.140 --> 48:54.640 in the contest in the past was 48:56.250 --> 48:59.436 really explaining what that B-roll package is. 48:59.436 --> 49:04.340 It's prime cuts, and then bumped up against that, 49:04.340 --> 49:05.730 is your interview, alright? 49:05.730 --> 49:08.200 Two or three sound bites from that interview. 49:08.200 --> 49:10.947 So that if I pick it up, I can do a story. 49:10.947 --> 49:11.780 - Right. 49:11.780 --> 49:14.170 - So that's the purpose of these B-roll packages. 49:14.170 --> 49:16.643 So that's a great observation. 49:17.500 --> 49:19.300 Alright, what are we lookin' at now? 49:21.964 --> 49:25.631 (dramatic orchestral music) 49:35.050 --> 49:36.173 - [Medic] Three-zero mets. 49:43.040 --> 49:44.450 - [Medic] Good one. 49:44.450 --> 49:47.363 - [Medic] Going in, gonna accept it this time. 50:03.529 --> 50:04.362 - Right, deal, right. 50:04.362 --> 50:07.393 - So, how did this work for you guys? 50:08.647 --> 50:10.093 - I'll dive in. 50:10.940 --> 50:13.053 This was, I think I mentioned it earlier, 50:14.830 --> 50:17.493 the worst thing you can do is make me read your video. 50:18.730 --> 50:21.760 Video is impactful because it's... 50:21.760 --> 50:23.690 there's things happening in my ears, 50:23.690 --> 50:25.240 there's things happening in my eyes, 50:25.240 --> 50:26.220 and I really can walk away 50:26.220 --> 50:29.060 with an emotional sense of what's happening. 50:29.060 --> 50:31.863 If the purpose of the video is to educate me, 50:32.900 --> 50:35.860 it needs to be in chunks that I can read quickly, 50:35.860 --> 50:38.060 digest, understand what's happening. 50:38.060 --> 50:40.660 This was way too much. 50:40.660 --> 50:42.270 It does look like a social media piece. 50:42.270 --> 50:45.000 It looks like it was made for maybe Instagram 50:45.000 --> 50:47.823 or, you know, it's got that kinda feel. 50:48.860 --> 50:51.349 But in that respect, then it would be a fail, 50:51.349 --> 50:53.927 in my book anyway, because from that stand point, 50:53.927 --> 50:58.810 it can be short, it can be bold, with a great visual image 50:58.810 --> 51:01.840 to convey what's happening, but then just tell it to me 51:01.840 --> 51:02.673 and tell it to me quick. 51:02.673 --> 51:05.947 Don't make me, there's no way you could even read that 51:05.947 --> 51:08.660 in time before the next screen came up, 51:08.660 --> 51:12.120 and it makes me unfortunate because I actually 51:12.120 --> 51:14.423 wanna know, what am I watching, you know? 51:15.430 --> 51:16.826 - I agree. 51:16.826 --> 51:19.130 I think that one moves and I get it, 51:19.130 --> 51:21.830 it is a very obviously a social media piece, 51:21.830 --> 51:24.180 it's a quick burst, but it's so quick 51:24.180 --> 51:28.120 and there's so much written information in that piece 51:28.120 --> 51:30.370 that unless you are a viewer 51:30.370 --> 51:33.313 that is willing to pause something, 51:33.313 --> 51:34.620 you're not gonna catch it. 51:34.620 --> 51:37.491 And I think that that pararescue stuff, 51:37.491 --> 51:41.290 what they're depicting, again, incredibly important, 51:41.290 --> 51:44.040 important for the public to understand and to see that. 51:45.174 --> 51:48.910 The drum I've been banging on is pre-production, man. 51:48.910 --> 51:51.500 You gotta plan some of this stuff out 51:51.500 --> 51:53.510 'cause you've only got so many seconds 51:53.510 --> 51:55.630 to get a message across. - Correct. 51:55.630 --> 51:57.345 - And, man, that's gotta hit. 51:57.345 --> 52:00.740 I think that they tried to get after it, 52:00.740 --> 52:04.130 but I think we kinda missed in getting the message. 52:04.130 --> 52:06.603 - Okay, let's take a look at our next video. 52:10.352 --> 52:11.185 - [Claudia] Aw. 52:11.185 --> 52:12.018 - [Clint] Yeah. 52:13.250 --> 52:14.600 - [Claudia] We're still on? 52:19.677 --> 52:21.770 (upbeat electronic music) 52:21.770 --> 52:25.020 - Rescue is like having one massive family. 52:25.020 --> 52:27.870 I mean, I grew up with two older brothers 52:27.870 --> 52:31.150 and now it's just like I have a lot of older brothers. 52:31.150 --> 52:34.310 It's really, really close knit. 52:34.310 --> 52:36.433 The mission kinda brings us all together. 52:37.660 --> 52:40.640 So, it's really not a big deal 52:40.640 --> 52:44.950 being a female in a male-dominated career field. 52:44.950 --> 52:46.490 I mean, especially out here. 52:46.490 --> 52:49.590 We have a female squadron commander 52:49.590 --> 52:52.360 who at any time can tell me to execute the mission 52:52.360 --> 52:54.810 and then be launched out on that mission 52:54.810 --> 52:57.570 by a female crew chief, so that's pretty cool. 52:57.570 --> 52:59.773 There's no gender in the aircraft. 53:02.100 --> 53:07.100 Getting to go out and fly everyday in itself is amazing. 53:07.160 --> 53:09.950 And then you pile the mission on top of that, 53:09.950 --> 53:13.762 the that-others-may-live concept, it's incredible. 53:13.762 --> 53:17.200 (fast dubstep music) 53:17.200 --> 53:20.408 To any young females looking to join the military, 53:20.408 --> 53:22.970 go into combat roles, be a pilot, 53:22.970 --> 53:24.410 you're gonna have people along the way 53:24.410 --> 53:27.220 that are gonna tell you, you can't do something 53:27.220 --> 53:30.280 The important thing to remember is not to listen to that, 53:30.280 --> 53:33.090 especially not to let yourself 53:33.090 --> 53:34.420 tell you that you can't do that. 53:34.420 --> 53:37.390 If you have a goal or a dream that you want to accomplish, 53:37.390 --> 53:39.724 you can do it as long as you put your mind to it. 53:39.724 --> 53:43.224 (upbeat electronic music) 53:48.660 --> 53:49.493 - Okay. 53:50.960 --> 53:53.393 Let's talk a little bit about this, guys. 53:54.990 --> 53:56.087 What'd you think? 53:57.084 --> 53:59.034 - I think it was a well-produced piece. 54:00.380 --> 54:04.000 From a one-on-one interview perspective, 54:04.000 --> 54:05.950 it tells a story rather than just being 54:05.950 --> 54:07.530 a boring one-on-one interview. 54:07.530 --> 54:10.720 So there's some good emotion that's evoked 54:10.720 --> 54:13.070 through all the footage that she used 54:13.070 --> 54:14.520 and how it's edited together. 54:15.640 --> 54:17.880 With that said, I'm sure there's some nitpicky things 54:17.880 --> 54:21.010 that can come out of it, but at the end of the day, 54:21.010 --> 54:23.423 I heard her story, I remember her story, 54:24.300 --> 54:26.483 and it was done in a beautiful way. 54:27.460 --> 54:29.600 But again, some minor tweaks. 54:29.600 --> 54:31.080 (laughs) 54:31.080 --> 54:33.195 - Well, let's talk about those minor tweaks. 54:33.195 --> 54:34.795 What do we think those might be? 54:36.240 --> 54:39.692 - I agree, Claudia nailed it. 54:39.692 --> 54:41.940 There's some amazing cut work in this. 54:41.940 --> 54:43.040 It was produced well. 54:43.040 --> 54:44.960 You can tell that the videographer put 54:44.960 --> 54:48.440 a large amount of time into producing this piece 54:48.440 --> 54:51.163 and trying to complete a thought. 54:51.163 --> 54:52.580 There's a good interview, 54:52.580 --> 54:57.070 but the interviewer sitting 54:57.920 --> 55:02.043 open-legged on a helicopter is a tough visual. 55:03.717 --> 55:06.970 I think that the most professional way to put it is, 55:06.970 --> 55:10.100 the videographer needs to be cognizant 55:10.100 --> 55:12.940 of how their subject is postured. 55:12.940 --> 55:13.841 I think that's the best term? 55:13.841 --> 55:15.766 - I think that's a very nice way of putting it. 55:15.766 --> 55:18.140 - The best way to say it, posture is important 55:18.140 --> 55:21.420 because, at the end of the day, nobody cares 55:21.420 --> 55:24.640 what the videographer had to do to get the shot. 55:24.640 --> 55:28.130 All they care about is what they see on that screen. 55:28.130 --> 55:31.072 It used to be four by three, and now 16 by nine, 55:31.072 --> 55:32.260 they don't care. 55:32.260 --> 55:36.890 And if it comes off awkwardly, then that's how it comes off. 55:36.890 --> 55:40.530 So I think that the interview, the interviewee sitting on 55:40.530 --> 55:42.293 that aircraft and going to that wide shot 55:42.293 --> 55:44.300 was a little awkward. 55:44.300 --> 55:45.320 - And they trust you, right? 55:45.320 --> 55:47.280 They're in your hands. 55:47.280 --> 55:49.301 So they're not thinking, how do I look, 55:49.301 --> 55:51.453 in fact you don't want them thinking, 55:51.453 --> 55:53.600 what do I look like, because you want them to be real 55:53.600 --> 55:55.320 and that's what was happening here. 55:55.320 --> 55:57.370 She was very real and honest. 55:57.370 --> 56:00.539 So you owe that to your subject to take a look 56:00.539 --> 56:03.100 and help them out a little bit. 56:03.100 --> 56:06.406 - Agreed, but I do think it was incredibly well-edited. 56:06.406 --> 56:09.010 - They thought about the story they were telling 56:09.010 --> 56:11.860 and made sure they had enough to go along 56:11.860 --> 56:13.033 with that whole story. 56:14.070 --> 56:15.730 Again, the tiny little thing though, 56:15.730 --> 56:17.540 end that story, though, too. 56:17.540 --> 56:19.600 - Yes, I agree a hundred percent. 56:19.600 --> 56:22.787 - But, otherwise, it was nicely done. 56:22.787 --> 56:25.330 - Yeah, I really wish they would've put the bow tie. 56:25.330 --> 56:28.460 The shot at the end is a sped-up motion shot 56:28.460 --> 56:31.670 of her getting into the cockpit and it's a wonderful shot. 56:31.670 --> 56:33.620 I just wished it wasn't the last shot. 56:33.620 --> 56:36.410 It needed, again, like many of the videos we looked at 56:36.410 --> 56:40.550 it needed a closer to put the bow tie on this thing 56:40.550 --> 56:41.930 and to close it off. 56:41.930 --> 56:43.700 I loved the detail work. 56:43.700 --> 56:47.490 I loved the extreme close ups of the name, 56:47.490 --> 56:51.080 and the name tags, that cut work, that detail, 56:51.080 --> 56:54.600 that takes a lot of thought and it was very well done. 56:54.600 --> 56:55.690 - Excellent. 56:55.690 --> 56:58.190 Alright, well let's take a look at our next piece. 56:59.448 --> 57:02.345 (metal clattering) 57:02.345 --> 57:04.570 - So with this one, make sure you guys-- 57:04.570 --> 57:07.318 - [Soldier] Two different valves, okay. 57:07.318 --> 57:09.499 (laughing) 57:09.499 --> 57:12.249 (wind crackling) 57:14.839 --> 57:18.089 (plane engine roaring) 58:19.605 --> 58:23.105 - [Soldier] Yeah that's good for pressure. 58:32.627 --> 58:34.210 - [Soldier] Woohoo! 59:06.524 --> 59:08.363 - Okay, so tanker refueling. 59:09.870 --> 59:11.660 What'd you think? 59:11.660 --> 59:14.786 - Well, I thought it was nicely done. 59:14.786 --> 59:17.910 The portion of the refueling was very nice. 59:17.910 --> 59:19.560 The real struggle that I had, again, 59:19.560 --> 59:22.483 this is a B-roll package and it needed to be completed. 59:23.360 --> 59:25.290 There's a lot of B-roll, just random B-roll 59:25.290 --> 59:27.547 in the front end, not sequenced. 59:27.547 --> 59:29.540 We gotta have sequences. 59:29.540 --> 59:31.630 We just desperately need, even two shots. 59:31.630 --> 59:32.910 I'll even take a two shot sequence, 59:32.910 --> 59:35.010 but give me that two to three shot sequence 59:35.010 --> 59:37.500 for the editor to work with. 59:37.500 --> 59:42.040 But, good B-roll but fairly incomplete. 59:42.040 --> 59:44.390 Not much on the front end, just some random shots. 59:44.390 --> 59:46.870 And then when we get to the obligatory refuel, 59:46.870 --> 59:49.910 the refuel is beautiful, all of us sat here and said, 59:49.910 --> 59:52.463 hey, we would edit with that, I would cut that. 59:53.480 --> 59:56.870 But then we just, again, we get a couple shots of landing. 59:56.870 --> 59:59.953 There's absolutely no sound bite to accompany any of this. 01:00:00.890 --> 01:00:02.780 And for me, one of the toughest things I have, 01:00:02.780 --> 01:00:05.920 is the audio is just all over. 01:00:05.920 --> 01:00:06.990 So that was my main thing. 01:00:06.990 --> 01:00:09.390 - Yeah, that's exactly what I was thinking 01:00:09.390 --> 01:00:12.380 outside of the actual refueling time period, 01:00:12.380 --> 01:00:15.870 I don't know what I would use out of the rest of that. 01:00:15.870 --> 01:00:18.420 So, that's not a great sign when it's saying, 01:00:18.420 --> 01:00:21.420 if I got this B-roll package to actually do 01:00:21.420 --> 01:00:23.130 something with it, I'd be like, whoa, 01:00:23.130 --> 01:00:24.990 thought I had some great moments, 01:00:24.990 --> 01:00:26.923 but I don't have a story. 01:00:28.130 --> 01:00:33.130 So, I think the word was, B-roll is not, do the work. 01:00:34.210 --> 01:00:35.960 B-roll is not just setting up a camera 01:00:35.960 --> 01:00:38.430 and recording what's happening. 01:00:38.430 --> 01:00:42.150 It's going in and finding that shot or two 01:00:42.150 --> 01:00:43.390 about what's happening. 01:00:43.390 --> 01:00:46.140 It's about what's happening. 01:00:46.140 --> 01:00:48.250 Which is difficult, especially with something 01:00:48.250 --> 01:00:49.350 that apparently happens everyday 01:00:49.350 --> 01:00:50.960 and it's like, okay the plane taking off. 01:00:50.960 --> 01:00:54.240 But, it's a chance to think a little bit differently 01:00:54.240 --> 01:00:57.278 or look a little bit differently at the surroundings 01:00:57.278 --> 01:00:59.373 to give an editor something to work with. 01:01:01.220 --> 01:01:03.420 - Okay, let's take a look at our next piece. 01:01:06.290 --> 01:01:08.580 - I did love the A-10 peeling off, by the way. 01:01:08.580 --> 01:01:09.463 That was great. 01:01:10.355 --> 01:01:14.270 (dramatic orchestral music) 01:01:14.270 --> 01:01:16.070 - As pararescuemen here at Bagram, 01:01:16.070 --> 01:01:19.110 the primary job is to save lives. 01:01:19.110 --> 01:01:21.450 Inevitably, people have a bad day in war 01:01:21.450 --> 01:01:23.110 and it's these guys jobs to, 01:01:23.110 --> 01:01:25.270 at any time of the day, in any environment, 01:01:25.270 --> 01:01:27.463 to go in there and save people's lives. 01:01:28.830 --> 01:01:31.110 This is the first time that we've had a joint 01:01:31.110 --> 01:01:34.963 Air Force and Army Combat Search and Rescue in Afghanistan. 01:01:36.810 --> 01:01:39.760 For those that are flying missions everyday, 01:01:39.760 --> 01:01:43.000 they can rest a little easier or they can fight harder 01:01:43.000 --> 01:01:46.470 knowing that they have a group of highly motivated guys 01:01:46.470 --> 01:01:49.517 back here that will risk themselves to go get you. 01:01:50.629 --> 01:01:53.520 In this particular area of operations in Bagram, 01:01:53.520 --> 01:01:56.680 the CH-47, or the Army Chinook, is the best platform 01:01:56.680 --> 01:01:58.060 to conduct this mission. 01:01:58.060 --> 01:02:00.893 (hard rock music) 01:02:07.240 --> 01:02:09.630 - All aircrew members take, as a solemn vow, 01:02:09.630 --> 01:02:12.080 that if you go down, there will be assets 01:02:12.080 --> 01:02:14.734 that will come and get you and that's a pararescuemen vow, 01:02:14.734 --> 01:02:16.780 that's something that we've taken on, 01:02:16.780 --> 01:02:18.580 and we take that vow very seriously. 01:02:22.644 --> 01:02:24.330 The benefit of having the Chinook integrated 01:02:24.330 --> 01:02:27.120 into the rescue squadron with the pararescuemen 01:02:27.120 --> 01:02:30.070 over other airframes, is the space and the power 01:02:30.070 --> 01:02:33.473 available in the high altitude areas of Afghanistan. 01:02:35.690 --> 01:02:37.690 - [Robert] Here at Bagram, we're surrounded 01:02:37.690 --> 01:02:40.910 by 12 to 13 thousand foot snowy mountains, 01:02:40.910 --> 01:02:43.630 which aircraft have to fly over or through 01:02:43.630 --> 01:02:47.510 every single day to operate in and out of Afghanistan. 01:02:47.510 --> 01:02:49.020 - If somebody's up in the mountains 01:02:49.020 --> 01:02:52.010 and they need to be hoisted out of the mountains 01:02:52.010 --> 01:02:54.500 because there isn't a suitable landing zone, 01:02:54.500 --> 01:02:56.750 their aircraft has the power 01:02:56.750 --> 01:02:59.200 to actually hold a stable hover. 01:02:59.200 --> 01:03:00.670 A lot of aircraft can't do that. 01:03:00.670 --> 01:03:02.250 - [Army Pilot] With the Chinook having as much power 01:03:02.250 --> 01:03:05.590 as it does, it allows us to reach very high altitudes 01:03:05.590 --> 01:03:08.070 without the degradation of the power margin 01:03:08.070 --> 01:03:10.800 that most other tail rudder aircraft experience 01:03:10.800 --> 01:03:12.683 as you go up in higher altitudes. 01:03:13.770 --> 01:03:17.390 - So, mass casualty operations is an inherent risk 01:03:17.390 --> 01:03:19.330 that takes place within Afghanistan. 01:03:19.330 --> 01:03:22.860 What's nice about the 47 is I can 01:03:22.860 --> 01:03:25.613 pick most of those folks up all in one trip. 01:03:30.950 --> 01:03:32.150 - By being able to load 01:03:32.150 --> 01:03:35.040 multiple patients on one aircraft, 01:03:35.040 --> 01:03:38.020 much more than most aircraft, out of a fire fight, 01:03:38.020 --> 01:03:41.220 we can get them to the care that's required, 01:03:41.220 --> 01:03:44.780 is literally life or death for a lot of people. 01:03:44.780 --> 01:03:47.340 - [Medic] Give me patient two, it's a GSW where? 01:03:47.340 --> 01:03:48.617 - [Soldier] Anterior chest. 01:03:48.617 --> 01:03:50.450 - Okay. - Single entry. 01:03:51.456 --> 01:03:53.060 - [Army Pilot] We can control the entire aircraft 01:03:53.060 --> 01:03:55.500 without it ever reaching its weight limitations. 01:03:55.500 --> 01:03:59.130 The space that the 47 allows us gives the PJ more room 01:03:59.130 --> 01:04:02.430 to operate around the patient to give better care. 01:04:02.430 --> 01:04:03.530 - [Pararescueman] From time of injury 01:04:03.530 --> 01:04:07.180 to time on that cold steel, on that O.R. table, 01:04:07.180 --> 01:04:09.560 to try to get that within an hour and the easiest way 01:04:09.560 --> 01:04:12.613 to do that is move as many people as possible at one time. 01:04:18.040 --> 01:04:19.340 - As long as anybody's on the ground, 01:04:19.340 --> 01:04:20.600 and aircraft are flying overhead, 01:04:20.600 --> 01:04:23.613 a rescue is needed within Afghanistan, period. 01:04:29.383 --> 01:04:31.430 - You can put more pararescue men 01:04:31.430 --> 01:04:33.700 inside the aircraft, you can render better aid. 01:04:33.700 --> 01:04:34.820 We can carry everything 01:04:34.820 --> 01:04:37.510 that they need to carry to the battlefield 01:04:37.510 --> 01:04:40.650 and that's not an issue for the CH-47. 01:04:40.650 --> 01:04:42.700 - The Chinook's easily capable 01:04:42.700 --> 01:04:45.010 for what we're doing here, the ability to locate, 01:04:45.010 --> 01:04:47.950 it's the ability to pull power that we need. 01:04:47.950 --> 01:04:49.040 There's a lot of capabilities 01:04:49.040 --> 01:04:51.520 that the Chinook brings to the fight. 01:04:51.520 --> 01:04:53.430 - At a tactical level, 01:04:53.430 --> 01:04:57.260 the PJ's and Army work seamlessly together, 01:04:57.260 --> 01:04:59.633 it's as we've been doing this for years. 01:05:01.780 --> 01:05:03.890 We need that aircraft to get to places 01:05:03.890 --> 01:05:07.040 that we couldn't reach before and the 47, 01:05:07.040 --> 01:05:08.840 and the relationship with the Army and the Air Force, 01:05:08.840 --> 01:05:10.137 allows that to happen. 01:05:11.608 --> 01:05:14.858 (fast hard rock music) 01:05:19.203 --> 01:05:23.703 (moves to emotional orchestral music) 01:05:37.840 --> 01:05:38.673 - Wow. 01:05:40.180 --> 01:05:41.180 - Yeah. 01:05:41.180 --> 01:05:42.490 - Thoughts? 01:05:42.490 --> 01:05:47.490 - This was beautifully complete. 01:05:47.635 --> 01:05:50.770 This was, I think I said, this was like a mini movie, 01:05:50.770 --> 01:05:54.880 yet, it's something that I could see turned into 01:05:55.760 --> 01:05:58.555 a 30-second, a one minute, you know, 01:05:58.555 --> 01:06:02.930 it has so much in it that it can be used multiple ways, 01:06:02.930 --> 01:06:05.120 which, to me, is always a sign of great content. 01:06:05.120 --> 01:06:10.120 But as a whole, from start to finish, telling a message, 01:06:10.340 --> 01:06:14.590 being very clear about that, doing it in a moving way, 01:06:14.590 --> 01:06:16.230 and then taking a step back and looking at 01:06:16.230 --> 01:06:18.680 all the elements that went into creating it that way, 01:06:18.680 --> 01:06:21.440 it was done with beautiful shots, 01:06:21.440 --> 01:06:24.960 personalized shots, not just action. 01:06:24.960 --> 01:06:27.840 Beautiful interviews that you could hear clearly 01:06:27.840 --> 01:06:30.160 that were lit, that actually made me want to watch 01:06:30.160 --> 01:06:33.050 a talking head, which isn't always easy to do 01:06:33.050 --> 01:06:35.490 as we've seen in a couple other pieces. 01:06:35.490 --> 01:06:40.490 This was a beautiful, beautiful piece to get to watch. 01:06:42.500 --> 01:06:43.333 - Can I ask a question? 01:06:43.333 --> 01:06:44.560 We've talked about endings before. 01:06:44.560 --> 01:06:45.740 What did you think of the ending? 01:06:45.740 --> 01:06:47.430 Did that bring it home? 01:06:47.430 --> 01:06:49.930 Was that the punch that you've been talking about? 01:06:50.770 --> 01:06:52.650 - Yes, for two reasons. 01:06:52.650 --> 01:06:54.982 When the narrative ended, there was a natural end 01:06:54.982 --> 01:06:58.790 to the interview, so I felt like the story was complete. 01:06:58.790 --> 01:07:00.040 So it doesn't always have to be this big bang, 01:07:00.040 --> 01:07:02.970 shebang, hey we're ending now. 01:07:02.970 --> 01:07:06.820 The narrative ended and the visuals joined with that. 01:07:06.820 --> 01:07:11.817 But then, having a closing credit definitely helped 01:07:11.817 --> 01:07:13.000 the viewer sum it up. 01:07:13.000 --> 01:07:16.770 I loved seeing everyone's names at the end 01:07:16.770 --> 01:07:18.875 of who was in the piece. 01:07:18.875 --> 01:07:22.337 - Those are people who we lost. 01:07:22.337 --> 01:07:26.902 - And I think it helped drive home the value, 01:07:26.902 --> 01:07:29.350 which was the message of what they're doing, 01:07:29.350 --> 01:07:31.210 how important their equipment is, 01:07:31.210 --> 01:07:33.240 how dangerous the environment is, 01:07:33.240 --> 01:07:35.520 how thoughtful they are about their training 01:07:35.520 --> 01:07:37.900 and preparedness, I mean, I got all of it, 01:07:37.900 --> 01:07:39.123 and you remember it all. 01:07:40.701 --> 01:07:42.850 As a marketer, that's important. 01:07:42.850 --> 01:07:45.778 Someone in PR and advertising, all of that, 01:07:45.778 --> 01:07:48.970 you want people to remember your message. 01:07:48.970 --> 01:07:51.990 But you also, if you're a storyteller, it's the same thing. 01:07:51.990 --> 01:07:53.600 You want people to remember your message. 01:07:53.600 --> 01:07:56.310 And this told a story, for me, this piece, 01:07:56.310 --> 01:08:00.383 visually and with the whole thread of the narrative. 01:08:01.680 --> 01:08:02.810 - What'd you think? 01:08:02.810 --> 01:08:04.833 - I thought it was amazing. 01:08:04.833 --> 01:08:08.420 It's very obvious that the videographer, the producer, 01:08:08.420 --> 01:08:11.210 put a massive amount of time into this product. 01:08:11.210 --> 01:08:13.660 There are multiple missions here, 01:08:13.660 --> 01:08:15.020 multiple, multiple missions. 01:08:15.020 --> 01:08:16.170 It's obvious for me to tell that, 01:08:16.170 --> 01:08:18.420 that they were done in multiple missions. 01:08:18.420 --> 01:08:21.140 So the amount of time invested in producing 01:08:21.140 --> 01:08:23.550 this one piece is substantial. 01:08:23.550 --> 01:08:26.185 To get, I think this piece is about 4 1/2 minutes, 01:08:26.185 --> 01:08:30.160 if I'm not mistaken, to get 4 1/2 minutes fully produced, 01:08:30.160 --> 01:08:33.800 is a tall order and to do so in this environment 01:08:34.787 --> 01:08:38.830 takes a lot, it takes a lot to do this. 01:08:38.830 --> 01:08:42.700 So I appreciate the work that was done. 01:08:42.700 --> 01:08:45.310 The interview work was really, really good. 01:08:45.310 --> 01:08:48.450 The fact that the interview subjects were lit, 01:08:48.450 --> 01:08:50.499 their audio was spot on. 01:08:50.499 --> 01:08:53.370 One of the things that you noticed is their angles 01:08:53.370 --> 01:08:55.960 change within their interviews, so they change angles. 01:08:55.960 --> 01:08:59.150 One is sitting in a helicopter and is facing to the right, 01:08:59.150 --> 01:09:01.300 the other is facing to the left 01:09:01.300 --> 01:09:02.750 with a flag off of his shoulder. 01:09:02.750 --> 01:09:06.013 So things like that create flow in a production. 01:09:07.305 --> 01:09:09.430 One of the things I wanna highlight, 01:09:09.430 --> 01:09:13.510 and it's the first time we've seen it today, 01:09:13.510 --> 01:09:17.760 is we saw our first environmental portraits 01:09:17.760 --> 01:09:21.130 of somebody just shooting environmental portrait video 01:09:21.130 --> 01:09:24.890 of somebody because it brings so much of the human element, 01:09:24.890 --> 01:09:27.856 it draws an audience in to see that 01:09:27.856 --> 01:09:30.083 and this had it in spades. 01:09:31.250 --> 01:09:35.760 I do think it was very special, 01:09:35.760 --> 01:09:40.760 to close and to recognize the crew that was lost, 01:09:41.490 --> 01:09:44.230 Jolly 51 I believe, that they lost, 01:09:44.230 --> 01:09:46.720 and I think that that just speaks volumes 01:09:46.720 --> 01:09:49.000 and it's phenomenal that they were allowed to use 01:09:49.000 --> 01:09:52.100 this production to memorialize those folks 01:09:52.100 --> 01:09:52.933 and represent that. 01:09:52.933 --> 01:09:54.073 Yeah, Jolly 51. 01:09:56.268 --> 01:10:00.063 It is just, it's special, so kudos to the work. 01:10:01.730 --> 01:10:02.990 - Excellent. 01:10:02.990 --> 01:10:06.990 Well, we're gonna go ahead and take a quick 15-minute break. 01:10:06.990 --> 01:10:08.940 Hopefully, you'll be joining us back. 01:10:08.940 --> 01:10:10.100 We'll give you a chance to maybe 01:10:10.100 --> 01:10:11.230 get your bathroom break in 01:10:11.230 --> 01:10:13.830 or grab some coffee and continue watching. 01:10:13.830 --> 01:10:15.323 We'll see you in 15 minutes.