Before the scripting even began, I followed my normal plan of attack, working backwards from the end.  How the film would be displayed influences how the project would be produced.  Video framing, camera movement, sound design, graphics design and more are all affected by how the viewer will experience the presentation.   Because the idea was to immerse the audience into the presentation, I proposed filming in a super wide format, akin to the original 1960’s CinemaScope 2,55:1 aspect ratio.  We would film in standard 4k 23.98 and then crop the image vertically to create the ultra-widescreen effect.  This was important to decide before production because the videographers had to frame correctly for the center 1/3 of the image.

I originally proposed an over-sized, wraparound screen for the ballroom.  Something that would fill the field of vision vertically and wrap out from the wall at least 25 degrees to create that ‘you are there’ feeling.  The viewers would have to turn their heads a little side to side in order to see everything.  That was going to require a screen over 75 feet wide and 8 feet tall and proved to be too expensive for the budget.  Then Director of Studio Operations, Brad Hinton discovered a ‘virtual theater’ concept whereby the viewer would be immersed in a 360 virtual theater with the CinemaScope widescreen at the front.   VR goggles using a Samsung smartphone, all triggered simultaneously so the audience experiences the film together.    Straight ahead would be the big screen, wide enough that they would have to turn their heads a bit to see everything.  If they looked all around, they would see the rest of the movie theater.  So we could create a ‘traditional flat’ presentation and our audience would be immersed into a VR theater.  It was a brilliant discovery and knowing that delivery mechanism up front was vital to the rest of production.

Since the viewers would be wearing the headsets, we had to be conscious of camera movement.  This presentation was not designed to be an entertainment attraction so we didn’t want to have fast camera moves that could be distracting or worse, make our viewers motion sick.   All camera movement was designed to be horizontal (left to right or right to left) and it would be done slowly and deliberately.  For the motion shots, we went with an OSMO rig with x5 camera to stabilize the camera moves and all other videography was done with the Sony FS7, both shooting in 4k, 23.98.

The scripting process involved many stakeholders including the Sustainability department in Atlanta, research and development in Wisconsin, Dixie brand in Atlanta, paper making facility in Alabama and the Dixie plant in Kentucky.  What I discovered was that there was no way for me to script the intricacies of the entire manufacturing process.  The better way to tell the story would be through the people who actually know the process at the facilities.  They can speak freely in their own words because they live it every day which creates a more natural piece.  So the scripting process was more of an outline and key bullet point process.  In order to keep the running time reasonable, I worked with the stakeholders to identify the key elements of each step of the process.  Then created an outline so each person would focus on only those key areas.   I designed the presentation to go from start to finish of the process with each segment handing off the process to the next step.  The two areas that were fully scripted was the opening segment on Sustainability and the close featuring the head of the Dixie brand.  I Directed the opening scene in the forest while the filming in the Naheola and Bowling Green facilities was Directed by Doug Congleton.

Once filming was completed, I pulled together the storyline from transcripts and worked with Editor Scott Franklin to assemble the story.  Ultimately we ended up with a frame size around 4096 x 1605.  It created that ultra-widescreen look and really forced your eye to look at what we wanted you to see.  Because the screen was so big in the viewers eyes, we chose a small, minimalist graphics package that would not detract from the visuals and break the ‘you are there’ feeling.   Because the audience would all be wearing individual headphones, we ensured that there was good stereo separation and sound placement to further reinforce the ‘you are there’ experience.

Ultimately the presentation far exceeded what was requested from the client and multiple divisions from GP have come back to request a public facing version be created.   Understanding the delivery mechanism of the message and working backwards from the end is how you achieve engagement results for your message.

The post Taking the Dixie brand to VR by Working Backwards appeared first on WalterBiscardi.com.

NAB Show 2016 is upon us and my schedule is coming together.   I’ll be primarily appearing in the Studio Network Solutions booth SL11113 giving the presentation Adobe Premiere Pro Project Management and Project Sharing Best Practices.  (full details below) I’ll also be at some of the evening events and just hanging out.  So if you have the chance, come say hello and let’s chat!   Heck, if you want to meet up for a coffee and talk shop, ping me on Twitter, @walterbiscardi or drop me an email walter (at) biscardicreative.com.  Look forward to seeing you all!

LOVE Stef and Sean from Rampant Design Tools

Saturday: Arriving in the afternoon and honestly, this is my quietest day.   If you’re in town and want to meet up to chat, ping me!  I’m staying over in the MGM Grand / NY NY area of the Strip.

Sunday: If anyone wants to meet up for breakfast, ping me.  I’m also around in the early afternoon.   9pm I’ll be at the #PostChat meet-up outside the O’Shea’s Bar in The Linq restaurant district.  Outside between The Linq hotel and Flamingo.   I might even go up in the High Roller observation wheel Sunday night.

Meeting Vashi! at the #PostChat meet-up

Monday: I’ll be in the SNS Booth SL11113 all day and presenting Adobe Premiere Pro Project Management and Project Sharing Best Practices at 10:30am, 2:00pm and 4:00pm.

In the presentation I will take you though best practices for Adobe Premiere Pro Project Management and Project Sharing.   These management tips can apply to other NLEs as well.  I’ll demonstrate the techniques I developed for managing the wealth of digital data created in today’s video production world, whether you’re in the corporate, broadcast or digital marketplace.   I’ll cover the basics of standardizing your project management including: Media Management & Organization, File / Folder Renaming, Transcoding, Media Cache, Shared Projects (2 or more editors sharing the same project),  Cross Platform (Mac & Windows), Archiving.  This is a must presentation for anyone looking to bring order to an expanding digital media workload and library. 

I’ll also be available all day in the booth to answer any questions you have about Adobe Premiere Pro, Adobe After Effects, Shared Storage Workflow, 4k, UHD, Post Production and of course, anything to do with cooking.  Pizza On the Grill is my favorite!  So stop on by and say hello!

Monday Evening: You’ll find me at the Media Motion Ball located in the Monte Carlo.

Tuesday: I’ll be in the SNS Booth SL11113 all day and presenting Adobe Premiere Pro Project Management and Project Sharing Best Practices at 10:30am, 2:00pm and 4:00pm. (see full description above)  Again, I’ll be available to answer any questions you have on all matters Post and of course cooking.  So stop by and say hello!

Tuesday Evening: You’ll find me for a little while at the Supermeet located in the Rio.  I don’t stay for the entire event and I generally just hang out in the vendor area to chat with folks.   Generally I end up going out for dinner after a few hours here.

Wednesday: I’ll be in the SNS Booth SL11113 all day and presenting Adobe Premiere Pro Project Management and Project Sharing Best Practices at 10:30am, 2:00pm and 4:00pm. (see full description above)   Again, I’ll be available to answer any questions you have on all matters Post and of course cooking.  So stop by and say hello!

Wednesday Evening: I’m attending a private event and then will be on my way back to Atlanta bright and early Thursday morning.

I really hope I get to meet up with you this year.  Have fun!

The post Where You’ll Find Walter Biscardi at NAB Show 2016 appeared first on WalterBiscardi.com.

“4k” and “Ultra-High Definition” are more than just buzzwords today.  For elevating your brand marketing and messaging, they should an essential part of your strategy.

First off, what exactly is 4k and Ultra-High Definition?   When we talk about video production and televisions, we’re actually describing pixel dimensions, the height and width of the image.  The high definition television you might have at home today is most likely a 1080p model, the screen displays 1920 pixels across and 1080 pixels vertically.

For the purposes of video production, 4k and Ultra-High Definition are essentially the same thing with slight differences in the image width.  A 4k / Ultra-High Definition television displays 3840 pixels across and 2160 pixels vertically.   Here’s a handy image to show the difference.

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As you can see, the Ultra-High definition image is equal to four HD images. True 4000 pixels across is achieved on some cameras, which we’ll discuss shortly.   The image quality achieved in 4k UHD video production is far superior to that of standard HD cameras.   The best way I can describe it is that the 4k UHD video looks like a window and the element is right there behind the window.  It’s that sharp and rich with a level of depth that used to be only available with film.

So how do we elevate your brand with 4k UHD?  First, we shoot everything in Cinema Mode with true Cinema Lenses.   Both elements work together to emulate the richness of film, giving your work a cinematic look.  They add a clarity, depth and richness to your image that is far and above what “standard HD cameras” can provide.

Blackmagic Design 4k Cinema Camera with a Sigma 24 – 104mm Art Lens.

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Click to see the full resolution 4k frame.

Notice in the image above how the camera is tightly focused only in the center.  The foreground and background being out of focus adds a tremendous depth to the image and gives it a cinematic quality.   We can focus the audience’s attention to specific details and offer a wide canvas for your product and story.

Next we use a super high quality recording format called RAW which records the media as individual 300dpi 4000 x 2160 images.  24 images per second of video (at 24 frames per second).   10MB per frame, 240MB per second, 14.4GB per minute.   This offers incredible detail and quality in the video and offers you literally thousands of print quality still images from a 4k UHD video shoot.  Repurpose any image for all manner of collateral and marketing, essentially performing a still and video shoot with the same camera.   Click to see the full resolution of the following images and remember, this is NOT still photography, these are still images from moving video.

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Click to see the full resolution 4k frame.

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Click to see the full resolution 4k frame.

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Finally, we edit and manipulate the imagery to give you incredible material that sells your brand.

On the trade show floor or at special events, 4k UHD imagery pops in all image sizes from 50” screens to 100 foot projection or digital walls.  There’s that window, almost 3D aspect to the image that just isn’t available in HD photography.

However, shooting 4k gives all all sorts of options for presentations in HD.  In HD, the imagery can be manipulated to zero in on specific details.  Remember when we started this article, I told you that the UHD image is the size of four HD images combined.   So look at that amazing steak here.

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You can see how much of the steak is available beyond the frame in HD.  So we can either scale the image down so you can see the entire steak in HD like you saw it earlier in the article.  Or, we can leave the steak full sized and simply reposition it in the frame to get an incredibly detailed image of the cook on that steak, like below.

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I’ll remind you again, this is not still photography, this is a single frame of extremely high quality, high resolution 4k Ultra High Definition video.

One production, many repurpose possibilities, ultra high quality imagery and storytelling to elevate your brand.  Call us today and let’s talk about how Biscardi Creative Media can add ultra high quality storytelling to your brand.

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BISCARDI CREATIVE MEDIA is a full service digital media production company near Atlanta, Georgia with services that include Video Production, Sound Production, Sound Mixing, Graphic Design, Animation, Post Production, Video Editing, Color Grading, Finishing, Digital Asset Transfer, Digitizing and Archiving. Quite simply we’re the people who make video and media production easy for you.   No technobabble.  Just clear, concise and creative content delivered where and how you need it, on time and on budget.  Office and production space is also available for short and long term projects.  www.biscardicreative.com | 770-271-3427

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The post Elevating Your Brand Through 4k Ultra High Definition Imagery appeared first on WalterBiscardi.com.

Studio Network Solutions EVO 48TB Online Media Storage (black) along with our original Small Tree 48TB system now operating as our near-line Archive. 96TB in about 6 rack units!

The Studio Network Solutions EVO line includes a ShareBrowser tool which allows us to manage the system quite easily and does away with a lot of OS X and Windows permissions issues we’ve experience in the past.   All User prefs are set via the administration tools and individual users can lock individual files as they’re working if need be.   This adds a whole new level of efficiency and control for us.

Here’s a look at the basic NAS and Project Sharing panel where we can set who has access to which volumes and even down to projects.

You can see we have broken the 48TB down into four partitions, EVO 1 – 4.   We do that to make it easier to manage the system and also from time to time we can wipe out a partition to completely erase it giving it a clean, fresh directory.   Over on the right you can see “Users.”   Clicking that brings up the main User Management controls.

Here’s the User Management controls for EVO 1 and how we can do a very simple, top level “Allow / Deny” access.  We can also assign whether the user will connect afp or smb depending on how your network is configured.  In our case all the Macs connect afp while the Windows system connects smb.   The user names you see here correspond to our systems and not individual users, however you can set up individual users if you’d like.   What this really does is takes away permission settings from the Mac and Windows OS where we have run into some stumbling blocks trying to get things to work cross platform.  In fact permissions issues just from Mac to Mac were causing some issues.   Now everything is set and managed within the EVO Browser.

Here’s the EVO ShareBrowser on Mac.  This gets installed on every client workstation and this is how you mount / unmount all the volumes and also do the tagging and keywords.

And here it is on Windows.

You can see they pretty much look the same and you can also see one of the locking features of the EVO Browser in the Windows image.  The Premiere Pro project file is locked and controlled by Edit 3.  This both allows two editors to use the file at the same time and ensures that they will not overwrite each other’s work.    You can read more about this in another recent blog “Two Editors, One Adobe Premiere Pro Project File.”

You’ll also notice on both the Mac and Windows systems, all the connected drives to the computers systems show up and can be indexed and managed by the EVO ShareBrowser.   The software is not wholly connected to just the EVO storage.  So we can Asset Manage all of our media through the EVO ShareBrowser system if we so choose.

Here’s a very simple example of tagging assets through the ShareBrowser.

I’ve got the folder selected and on the right side of the screen you can see the windows for Tags and Comments.   These are exactly what you think they are.   Simple asset management to tag and keyword all assets from folder level down to file level to make for much easier location and retrieval later.

Now the tags have been added to that folder and now those are searchable elements to retrieve those assets later.   The Tags and Comments can also be exported as an XML and brought into Adobe Premiere Pro and other NLEs.   This is a very high level asset management system.  In no way does this replace full asset management systems like CatDV or Axle which are both very in depth products.   There is also no way to generate a proxy directly through the EVO, this would be done with a third party software.  But for a first level, very simple “Tag the assets as they are loaded” this is an awesome addition with minimal training required.   With the coming of Contemporary Living Network and the sheer amount of data we’ll be dealing with when that launches, this will be a great first step asset management tool for the initial tagging of the assets.

The system runs on both 10GigE and GigE and we have it running through our existing Small Tree 10gig Switch to all our workstations.  For systems that have an internal 10gig card, we’re seeing Read speeds top 700MB/s.   For those with external boxes, like the iMacs with a 10Gig to Thunderbolt adapter, we’re seeing Read speeds top 300MB/s.  This is all in early testing as anyone will tell you, the Write / Read speeds off any test only give you part of the story.   The efficiency and video playback is wholly dependent on how the entire system is configured.   We’re good playing back and editing both HD and UHD on this system.

We’re pretty excited to bring this system online, not only for the boost in our storage capacity, but for the new way to manage the media across our entire network.  It’s going to really enhance the way we work with your projects.   There is a LOT of control for management of the shared storage and if you really want to know the nitty gritty, reach out to the guys at SNS for more details.    Better yet, if you’re going to be at the NAB Show 2015, you can find them at Booth SL12413.  In fact, BCM Founder, Walter Biscardi, Jr will be at the booth most of the day on Tuesday and Wednesday of the show.  So come on by,  say hello and let’s talk Shared Storage and Editing.

Of course if you’d like to see the system here, well give us a shout and come on out to the shop.  Molly the Wonder Dog would love to show you how the new system looks in person.

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BISCARDI CREATIVE MEDIA is a full service digital media production company near Atlanta, Georgia with services that include Video Production, Sound Production, Sound Mixing, Graphic Design, Animation, Post Production, Video Editing, Color Grading, Finishing, Digital Asset Transfer, Digitizing and Archiving. Quite simply we’re the people who make video and media production easy for you.   No technobabble.  Just clear, concise and creative content delivered where and how you need it, on time and on budget.  Office and production space is also available for short and long term projects

The post New Shared Storage / Media Asset Management System Online! appeared first on WalterBiscardi.com.

Low altitude flight has been a hot topic among flying camera cinematographers, particularly since the FAA seems to be in a holding pattern about how to regulate such crafts. But with experts at the controls, accident-free after hundreds of flights, we can safely obtain detailed low altitude shots that a regular helicopter could never get.[hr]

Yonder Blue flies a Cinestar 8 multi-rotor copter they construct themselves. It has a 360-degree camera gimbal to allow for adjusting pitch, rotation and tilt. While the copter pilot — Ben — flies the multi-rotor, Will watches a wireless downlink of the camera feed and adjusts the pitch, rotation and tilt. The team can fly all kinds of cameras; for this particular shoot, the Panasonic GH4 was shooting 4K. They also have lots and lots of batteries, and a field kit for charging them.

By utilizing Yonder Blue’s skill set, we were able to get a camera close to the action to showcase this state of the art facility in Georgia.

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BISCARDI CREATIVE MEDIA is a full service digital media production company near Atlanta, Georgia with services that include Video Production, Sound Production, Sound Mixing, Graphic Design, Animation, Post Production, Video Editing, Color Grading, Finishing, Digital Asset Transfer, Digitizing and Archiving. Quite simply we’re the people who make video and media production easy for you.   No technobabble.  Just clear, concise and creative content delivered where and how you need it, on time and on budget.  Office and production space is also available for short and long term projects.

The post Using Low Altitude Cinematography To Add High Production Value appeared first on WalterBiscardi.com.

Ben Lewin was seventeen when he started interning with us last fall. He’s mostly focused on the production side of things, so we tossed him more camera operation and project management tasks. He recently won CDAT’s male senior All-Star Student award (as well as the superlative “Most likely to THINK they’ll rule the world). He’s driven and has an entrepreneurial spirit, so we know he’ll be at the helm of his own company before long.

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My name is Ben Lewin and I am a senior at Lanier High School in Buford, GA. It is because of the school I attend that I got so lucky as to work as an intern at Biscardi Creative Media. Lanier has a technical program called the Center for Design And Technology (CDAT), which I have participated in since my sophomore year. When I heard what Lanier was doing, I was so compelled to participate because I have been looking to start my professional career as soon as possible and begin building an impressive portfolio early. I currently live in Lilburn and am a permissive transfer, so I have to drive 44 miles round trip to get to school every day, and have been doing that for 3 years.

Ever since I was young I have loved the art of storytelling. Not only do I have a passion for writing, but the process of film production has always appealed to me the most. I used to frequently make little short films with my friends and put them together in iMovie. Consequently, when I heard that I could use my passion of film to create projects and learn trade skills in my desired profession in school, I was more than motivated to participate. CDAT had a lot to offer and I was really able to strengthen my technical skills by learning and becoming proficient with NLE’s like the Premiere Pro and the Adobe suite.

During my high school career at Lanier, some film-related awards that I have won are the NATAS Southeast Student Production Award for outstanding excellence in the long-form fiction category; another award was a 1st place prize of $1,500 for the North Georgia Metropolitan Water District High School Video Contest. Since I am graduating in about a week, this fall I am attending Kennesaw State University where I plan on studying business. I want to own my own film production company and because of that I think that it would be astute to learn how to properly run a business. Stating film as my primary focus, my sights are not solely set on the former; versatile entrepreneurship is my blanket ambition in which I wish to aspire as a large-time investor and business owner.

My mentor and teacher, Mike Reilly, was connected to Walter Biscardi, Jr. and was looking for seniors, like myself, to reach out and attain an internship in their desired field of work. Because of my passion for the film industry, I jumped at the opportunity to acquire work experience at Biscardi Creative Media. Walter came over to Lanier one day and sat several students down, including me, for an interview and later hired a peer of mine, Mariah Campbell, and I.

I wasn’t unfamiliar with working for a production company. I had done some freelance work for BCM as a PA over the previous summer, but had never worked on the back-end as an editor or post-producer, much less produced an entire project from beginning to end. The first project we worked on was the latter; the Gwinnett Coalition for Health and Human Services needed a promo for its community service program called the Gwinnett Great Days of Service.

Walter had put Mariah and I in charge of the entire production from beginning to end. We contacted the client, wrote the interview questions, conducted the interviews, filmed on site, edited, and colored graded. Since the video was unscripted, I found it difficult to piece together a story that was both compelling and entertaining and, at the same time, maintained the integrity of the story itself. I really loved the way Walter handled us in regards to the project; we weren’t just these lowly, ignorant interns that we there to shut up and take notes. He, metaphorically, gave us the keys to the car and said “drive”. Of course, he would be there to catch us if we fell, but he wouldn’t hold our hands. This was a very conducive learning environment for me because, personally, I thrive under heavy responsibility and learn way more from experience than from hearing about it in a lecture.

The studio itself is extremely aesthetically pleasing. The floor plan enables a productive work environment and keeps in mind the needs of the various roles in production. One thing of value, in particular, that I have taken away from my experience is that organization is key. One ends up making it more difficult for themselves and wasting more time than necessary if they are reluctant to keep a tidy and organized project. Having every single resource and scratch disk in its exact location, all labeled and in order, makes working on the project faster and with clarity. That is just one out of many, seemingly small, but extremely important lessons that are not only applicable to the film industry, but to life in general.

I believe that it is essential that the youth start their work experience at a young age. It teaches them a trade skill and how to behave in a professional environment as well as giving them an idea of what they want to do with their life and, more importantly, what they don’t want to do. I was very privileged to have a real-world experience like this, especially in an environment like BCM, and I would recommend it to everyone.

 — Ben

The post Meet the BCM Interns: Ben Lewin appeared first on WalterBiscardi.com.

Meet the Blackmagic Design Pocket Cinema Camera.  

Canon AE-1 (circa 1983) and the Pocket Cinema Camera (circa 2014) both using the same lenses

If you can’t figure it out, the Pocket Cinema Camera is on the right.   That’s a 1983 Canon AE-1 film camera on the left.  It’s Walter’s personal camera from his high school days when he used to take pictures for the yearbook and even had a darkroom in his house.   Yeah, remember film?   You used to have to take it to a store to be developed and…. well kids that’s a story for another day.

What’s really neat about that photo is both cameras are using the exact same lenses.  Through a simple adapter, all of Walter’s lenses from the 1980’s are fully functional on the 2014 digital camera.  What’s more, this is a super high quality digital camera capable of shooting television shows and independent feature films, all through 1980’s lenses.

The pocket camera with the 1980’s era 70-310mm zoom lens.

This is the current trend in digital camera technology which is actually going back to how it all started.  It used to be the cameras were just a recording device, they held the film and opened a shutter.  The quality of the image was wholly affected by and created through the quality of the glass (lens) used on the camera.  Then camera manufacturers started adding lots and lots of electronics to the camera itself allowing really cheap lenses to look pretty good thanks to all the onboard computing.

This little Pocket Cinema Camera is the film camera concept reborn.  It records a high quality video format onboard, but the actual picture is wholly created by the quality of the lenses used on the camera.    Use a good lens and really good lighting techniques, get a really good image.

The Pocket Camera connected to our AJA KiPro Mini recorder for a tutorial video featuring BCM Artist Kylee Wall

We’re just starting to play with it on WalterBiscardi.com tutorials but don’t be surprised if you see us show up for your next production using this very simple, yet very powerful camera that literally fits into your pocket. This is one case where brand new technology gave old technology a new life and we couldn’t be happier.

The Pocket Cinema Camera camera with a 1980’s era Fish Eye Adapter on the front. Everything old is new again. All of our 1980’s lenses are working perfectly on this camera giving us a whole new way of storytelling.

The Pocket Cinema Camera is right at home in this camera bag purchased back in 1984.

[hr]BISCARDI CREATIVE MEDIA is a full service digital media production company near Atlanta, Georgia with services that include Video Production, Sound Production, Sound Mixing, Graphic Design, Animation, Post Production, Video Editing, Color Grading, Finishing, Digital Asset Transfer, Digitizing and Archiving. Quite simply we’re the people who make video and media production easy for you.   No technobabble.  Just clear, concise and creative content delivered where and how you need it, on time and on budget.  Office and production space is also available for short and long term projects.

The post Everything Old is New Again! Vintage Lenses meet Digital Cameras. appeared first on WalterBiscardi.com.

Our Google Hangouts are on-air broadcasts that allow us to share with others knowledge, secrets and tips of film and video production.

This post features our hangout on Post-Production and Delivery, the 3rd and 4th phases in the Production Process.

BISCARDI CREATIVE PRE-PRODUCTION (PART 3 of 3) | In this series, Biscardi Creative Founder, Walter Biscardi, Jr. “demystifies” the video production process.

VIDEO SUMMARY

Below is a high-level summary of what is discussed in this week’s hangout. But definitely take time to view this 30-minute interview for detailed explanations.

Time codes are included below so that you can skip ahead to the topics that interest you the most.

• Interviewee: Walter Biscardi, Jr., Biscardi Creative, Founder & Creative Genius
• Interviewer: Nicole Wright, Biscardi Creative, Director of Sales & Marketing

What is Post Production? (1:00 – 2:35)
It’s the bringing of all the elements together into a final product. Even though it’s called post it may begin as early as the pre-planning phase (with the creation of graphics, animation etc.)

What is the cost of Post Production? (2:45 – 4:30)
Post production can be 2, 3, 4, 10, 20 or 30x the cost of production. Watch podcast to find out why!

The main components of Production 

Editorial (4:30 – 6:00)
An editor is the person that takes all the raw elements and threads it into a story.
This section of the podcast includes screenshots and examples of what a one-hour show can look like when being created by an editor.

Sound Design (6:15 – 11:00)
Sound can be done by an editor or by a sound engineer. It may include the cleaning up and smoothing out of sound levels, adding sound effects and placing elements for surround sound. It’s a very important storytelling tool.

There is an amazing example of how sound design can affect the feel of a project – You HAVE to check this out! Go to 11:20 in the podcast.

Graphics (14:20 – 17:25)
Simple lower thirds (on screen identifiers), motion graphics, animations with thousands of layers of materials can all fall under this category.

Original Music (17:25 – 23:00)
In this section we discuss the different types of uses for original music and what other options to original music are available. We also talk about why you can’t just use the $0.99 iTunes song you downloaded.

Color Grading (23:15 – 27:00)
Again some great visual examples are used in this part of the interview. It shows how mood and emotion can be driven visually through color grading techniques…even during a simple interview.

Delivery (27:00 – End)
How your file is actually delivered. Meeting network and broadcast standards and more.

Examples of previous and upcoming topics:

• The Production Process (3 part series)
• Integrated Marketing Strategies
• Knowledge is Power: Educational Training Videos
• Out of the Box Video Marketing: Series and Webisodes
• Wedded Bliss: Marrying Social Media with Visual Media
• Painting a Clearer Picture about the Importance of Color Correction
• Production Budgeting
• Location, Location, Location
• Script-writing
• Staying Legal
• Latest Technology Series: Aerial Videography
• Latest Technology Series: What is 4K?

Connect with us on Google+, sign-up for our monthly Newsletter, or subscribe to our YouTube channel to get instant access to these informational pieces.

Lastly click here to learn more about Biscardi Creative Hangouts and how you can participate in our Live Shows![hr]

BISCARDI CREATIVE MEDIA is a full service digital media production company near Atlanta, Georgia with services that include Video Production, Sound Production, Sound Mixing, Graphic Design, Animation, Post Production, Video Editing, Color Grading, Finishing, Digital Asset Transfer, Digitizing and Archiving. Quite simply we’re the people who make video and media production easy for you.   No technobabble.  Just clear, concise and creative content delivered where and how you need it, on time and on budget.  Office and production space is also available for short and long term projects.

The post The Video Production Process: Post-Production {Part 3} appeared first on WalterBiscardi.com.

One of the questions we’ve regularly been asked by corporate clients is whether or not their videos will be welcome on some of these personal/social type platforms. We’ve always said YES, if you can make your story engaging. And now there’s some recent evidence to support our claim! According to a recent article by Unruly “forty percent of the 1,000 most shared Instagram videos last month came from brands.” That means if you create an engaging video – your audience will do the heavy lifting for you and market you by sharing your video with their network.

With stats such as the above continually being released and some of the SEO benefits of video (i.e. Google preference for YouTube participation), every business regardless of size needs determine not if, but how it’s going to incorporate video production and video marketing into its overall marketing initiatives.

Don’t be afraid to step into the digital playground. Your audience and future clients are out there and ready for you.

Questions or Inquiries? Contact Biscardi Creative Media |  770.271.3427

BISCARDI CREATIVE MEDIA is a full service digital media production company near Atlanta, Georgia with services that include Video Production, Sound Production, Sound Mixing, Graphic Design, Animation, Post Production, Video Editing, Color Grading, Finishing, Digital Asset Transfer, Digitizing and Archiving. Quite simply we’re the people who make video and media production easy for you.   No technobabble.  Just clear, concise and creative content delivered where and how you need it, on time and on budget.  Office and production space is also available for short and long term projects.  www.biscardicreative.com

The post Video Marketing for Business: Welcome to the Playground appeared first on WalterBiscardi.com.

We’re just a few weeks away from our first ever Colorist Flight School here at Biscardi Creative, May 30 – June 1.  There’s a few seats left for this incredible, one of a kind, color grading workshop and here’s some of the ways this training will be unlike anything else you’ve ever seen:

• During the event you’ll grade a short film that the entire class color corrects together over 2-3 days!
  • You’ll work from beginning to end: Importing through final render.   Not just some random group of shots that show the “ooooh” and “aaaaaah” styles that are so cool, but you’ll probably never use.  This is a REAL short film and you’ll be applying REAL WORLD color grades and techniques to the film.

• We provide a USB 3 hard drive with the short film and project files—for you to take home and continue practicing.   Did you get that?  YOU CAN TAKE THE FILES HOME!   The filmmakers have graciously allowed Colorist Flight School to license the scenes so you can not only work with them in class but take them home, and keep playing.

• You are licensed to use excerpts of the short film in your color grading demo reel and in private client demos!   In other words, you can have ACTUAL FILM SCENES in your color grading demo.   Want to make your reel stand out over the competition, here’s one way to do this.

In just three days you’ll take your color grading skills to an entirely new level to not only improve your mastery of the craft, but to set yourself apart from your competition.   In an ever crowded field, your skill set will be the one thing to help set yourself apart from the rest.

Register NOW!  

ONLY 10 total seats for this class, a few are left, and when they’re gone they’re gone!  Full Details here.

Questions or Inquiries? Contact Biscardi Creative Media |  770.271.3427

BISCARDI CREATIVE MEDIA is a full service digital media production company near Atlanta, Georgia with services that include Video Production, Sound Production, Sound Mixing, Graphic Design, Animation, Post Production, Video Editing, Color Grading, Finishing, Digital Asset Transfer, Digitizing and Archiving. Quite simply we’re the people who make video and media production easy for you.   No technobabble.  Just clear, concise and creative content delivered where and how you need it, on time and on budget.  Office and production space is also available for short and long term projects.  www.biscardicreative.com | 770-271-3427

The post Colorist Flight School – Color Grade Training like no other! May 30-June 1 appeared first on WalterBiscardi.com.