Marty Robinson, Clinician. Discusses the Ottobock C-Leg. from Kirk Tuck on Vimeo.
In this video we interview Marty Robinson who is a clinician with expertise in fitting prosthetics. He discussed the evolution from mechanical knee/leg devices to microprocessor controlled ones.
Our primary footage of Marty was shot in 4K with the Sony A7Rii but the video was created in the 1080p space. All of the b-roll footage was shot with the Sony RX10iii camera. The microphone was a Sennheiser MKE600 suspended on a boom pole, attached to a cart.
Processed in Final Cut Pro X. Music from PremiumBeat.com
The first moving pictures project in which I played a significant role was a television commercial for BookStop, Inc. (the first "category killer" book store chain) in 1985. I was the advertising agency creative director for the project which used: a television commercial, a multi-page, four color printed mailer (magazine style), radio commercials, and newspaper advertising, to open three, 100,000 square foot, retail stores in the Dallas/Ft. Worth area. With my creative team we concepted the commercial and the campaign materials. I wrote the direct mail as well as the TV, radio and newspaper ads. We hired producer/director, Bruce Maness, to handle the television commercial production.
As creative director for a big advertising campaign you should be involved in all the major steps and creative decisions. You are responsible for maintaining a consistent "look and feel" throughout. The TV commercials were the big chunk of the media buy and, since my print production team in the agency were all consummate professionals, I paid the bulk of my day-to-day attention to the TV commercial production.
For the spots we created an 18 foot tall replica of the monolith from the Stanley Kubrick movie, "2001, A Space Odyssey." The monolith was created almost entirely of hard cover books. We hired animators to animate a comet flying through a star field which then exploded and coalesced into a our client's logo (with a bit of shimmer added in...). The bulk of the footage was shot at night in a rock quarry (our "surface of the moon"). It was my first experience with huge, manned, cinema cranes and also with giant generators, and enormous 18K lighting fixtures.
The entire production was shot on 35mm film stock with an Arriflex camera and then mastered on two inch tape. It was a time consuming process and presented an almost logarithmic learning curve for me. It was my very first TV project and we were out of the gate with a $100,000+ budget. It was highly successful. The campaign generated results that far exceeded our client's sales goals; the TV, radio, and direct mail each won gold ADDY awards that year, and the most exciting thing for me
David Sims C-Leg Video. Rev. 1.2Z March 13, 2017 from Kirk Tuck on Vimeo.
I'm not sure there's ever a point at which video producers feel their editing is done. I could wake up every morning and change something on every video I've ever done. There are two things that bring projects to completion. One is budget; but if you enjoy a project budgets prove to be weak firewalls against spending more time fine tuning, or trying different approaches.
The other thing that serves as a giant stop sign in the editing process is a deadline. Hitting the deadline nearly always trumps one more set of tweaks.
As in the previous videos we used a Sony A7Rii, shooting in 4K (APS-C) mode to record the main interview footage and used a Sony RX10iii in 1080p mode to shoot our b-roll "footage."
The word, "footage" sounds a little zany to me given that there are no longer linear feet of film dragging through a film gate. We may have to revise our language around motion pictures as we head toward the future....
Everything that was lit was lit with Aputure LightStorm LED panels. Our primary microphone (into the Sony A7Rii) was a Sennheiser MKE600. We were working in the middle of an ongoing business and we could not always control background sounds but we did the best we could.
The main target for these videos is our client's website. They were not shot with theatrical distribution in mind and, in all likelihood, they will never be broadcast. The switch between black and white and color (which I also like) is part of the client's style guide.
I like David's interview because it was so personal and honest. This was a very rewarding project that put me in touch with some wonderful people. People with great stories about overcoming trauma and setbacks.
I want to do more like this.
John Mitchell C-Leg Story Rev. 1.1 from Kirk Tuck on Vimeo.
Many readers have asked to see the video productions I've been writing about. We have to wait until our clients publish the work we create for them, in a public forum, before we can share them. Fortunately, the client we worked for in Canada, Ottobock Healthcare, is happy to get the videos posted to their public Facebook page as soon as we get them edited and they are approved.
Here is the second video from our time in the great North.
I thought I would quickly rehash how I shot them so that the gear specs will be fresh in your mind while you watch the video.
I took along four cameras but ended up using the same two cameras every day. The "A" camera; used for each interview, was the Sony A7Rii. I shot it using a modified version of picture profile #4, in the 4K setting, and in the APS-C format. The APS-C crop is higher quality than the full frame, although most of us would not know the difference. The second cameras, used for every shred of "B" camera work --- interior and exterior --- was the Sony RX10iii. It was also set up using the same profile but I used it mostly in the full frame, 1080p mode.
My standard fps setting was 30 but I did go to 120 fps for the scenes where I was pretty sure I would like to slow down the action in post processing and would appreciate the smooth, detailed content.
The Sennheiser MKE 600 shotgun microphone was my mic of choice for all interviews. I ran that microphone into a Beachtek interface and took the audio from the Beachtek directly into the interview camera.
The editing was done on a recent iMac computer in Final Cut Pro X. I added Nattress Curves and Levels to the program as a plug-in so I'd have more control over the tonality of the parts that we converted to black and white.
The project parameters in FCPX were 1080p with a ProRes 4:2:2 rendering, sound at 48k 16 bit.
I like the Sony cameras very much and have backed away from my initial bedazzlement with dedicated video cameras. I like being able to toss super fast 85mm lenses on the front of a full frame sensor to get that razor thin depth of field look from time to time. I also like being able to grab stuff from far away with a 600mm equivalent lens. Mostly though, I've found the image quality from the conventional Sony cameras I am using to be exemplary and I'd rather fully fund my SEP every year (yes, it is tax season) that buy more cameras.
One more thing... the Sony RX10iii running with an external monitor delivers nearly 2 full hours of run time. Far exceeding the video run time I was able to get in conventional mirrored cameras I'd previously used.
I came back from Canada last month with hours of good video material that we're weaving into various programs. One of the first priorities was a short video message from the Canadian CEO about the 20th anniversary, in Canada, of one of their prosthetic leg products, the C-Leg.
More videos to come.