“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.

Walter Biscardi, Jr. directing an original television pilot on location.

Understanding The Grey Nature of Video Production

Video production is one of THE most subjective services on the planet.  We work squarely in shades of grey, far FAR more than 50 shades.  There is absolutely no black and white descriptors on how we do what we do.  If you ask us to create a training video for your team, we don’t have a “training video manual” with step by step instructions on what your video should be.  If you ask for a commercial campaign, there’s no book with “Step 1, Step 2, Step 3” to making a commercial.  There’s no formula to anything we do in video production that if we add up all the elements and it equals “X” then we know we’ve done our job correctly.   It doesn’t exist.

The quality and success of a video production rests solely on the video professional understanding your exact needs and then producing something that exceeds your expectations.   You alone are the judge of whether the video production company has “succeeded” or “failed” in their work.    Everything we do is subjective, we’ve done our job when you are happy and the project is effective to meet your needs.

Heather using a camera slider on location for a corporate process video.

What Have You Done Lately?

The easiest way to start your search is to look at demonstrations from the video professionals you’re considering for the job.  Everyone should have video samples online.  Have they done work that is similar in scope to what you’re looking for?  If not, but you like what you see otherwise, reach out and see if they have any examples that might not be online.   There’s no better way to get a quick gauge on the quality and range of video production by an individual or production company than to look at their samples.

What Am I Comparing?

Generally one of the first things that jumps out at you is the quality of the lighting and sound in a project.   Projects that are well lit in a very natural way or in a way that enhances the storyline and message will stand out as “more professional” or “more cinematic.”   If the lighting is flat or overdone, it has a “corporate” or “talking head” feel to it. A great way to really see the difference for those of you with Netflix, Hulu or Amazon Prime is to watch an episode of a sitcom or drama shot in the 70’s or 80’s.  Look at how bright and flat the sets are because the cameras back then couldn’t work in lower light.   Now compare that with just about anything shot today and you’ll notice just how natural and often how dark the sets are because today’s cameras and digital formats allow a lot more latitude in lighting and finishing.  “House of Cards” on Netflix is an extreme example of using a lot of darkness in scenes.

The sound quality and mix is something you may not consciously pay attention to, but it does affect your perception of the finished product and message.  In fact audio is generally FAR more important than video when it comes to your video project.  The audio is what distinguishes really good messages from “ok” messages.  Quality music, sound effects and sound elements, mixing the sound to the proper levels all greatly influence the viewing experience and the audience perception of your message.   Music Libraries especially distinguish video production companies as it’s an easy area to ‘go cheap’ to save money on project, but going cheap on music generally leads to less than desirable cuts of music.  Quality video professionals pay a lot of attention to detail to the sound mix so as you compare production companies listen to the sound mix, the music and the extras that make the messages stand out above the others.

Walter Biscardi, Jr. editing an original web series at Biscardi Creative Media, “Arson Dogs” for Victoria Stilwell

What Should I Know Before I Call?

Good creative video professionals can start out with the proverbial blank canvas.  However, one of the best pieces of information that helps in planning out a project is knowing who your audience is going to be and how the video is going to be displayed.   A video designed to be played in a noisy convention center during a trade show needs completely different considerations than a safety training video to be played in a classroom.  A television commercial designed to launch a new product during the biggest football game of the year needs completely different considerations than a marketing campaign designed to roll out on mobile devices.  A independent film aiming at national film festivals needs different considerations than an original television pilot.

So at the very least, ‘start from the end’ of ‘this is how we will use the video and this is how we will display it’ and that allows the video production company to design and shape your project to best deliver your message.

What Am I Listening For In Our First Meeting?

When meeting with the video professional, either via phone/video conference or in person, are they asking you a lot of questions?   As a video production company, we have to come to you with a lot of questions to fully understand not only what you’d like us to produce, but also how you’re going to use and display it.  This greatly influences how a project will be produced, the type of equipment & personnel we’ll require and how the finished product will be created.   For example a project created for mobile devices will generally require the primary graphics to be a bit larger due to the smaller screens vs. something that is created to play back on a 50″ or larger screen.

If the video professional is talking a lot about the equipment, the technology and generally filling the conversation with technobabble, that is generally a sign that they have a pre-conceived notion of what they want to produce for you.  They ‘understand video’ and talking about all this technology with the latest cameras, aerial gadgets and such  is serving to impress you with their vast array of “stuff.”  But are they actually listening to you?   The project you are asking for is unique to anyone else and the project should be produced as such.

The time to talk technology is only what something particular is required to serve the needs of your project.  In the first discussion with a video production company, the discussion should center around you and your needs.  Not what we, as a video production company, have already pre-determined for you before we even meet.   You can spot the pre-determined projects right away when you look at those demonstrations and samples on the various production company websites.   Do multiple projects for multiple clients look very similar?   Are they produced in what appears to be a “cookie cutter” style even using the same music and graphics style?  Those companies came in with a “here’s what you get” mentality.

A true production partner comes in and listens to you, THEN builds a plan around what you really need.

Michael mixing the sound at Biscardi Creative Media for the original PBS television series, “This American Land.”

Can They Deliver?

There’s no better reference for video production services than word of mouth.    Look at the testimonials on the websites but then go beyond that and ask the companies for references you can talk to.   Preferably someone in the same type of industry or field or need as what you are going for.   All video production companies are swell when you first meet with them, but what are they like to work with during the project?   How did they handle change and revisions?  Did they deliver the project on time and on budget?  If not, how were the budget changes handled?

Most importantly, have you or would you work with that company again and why?   We’re in a creative and sometimes very stressful field.  You want to make sure that the people you’re going to work with are both professional and pleasant to work with.  And that they will actually deliver what they promise.

What’s This Going To Cost?

Many video production companies and video professionals have pre-set packages for simple projects.  Particularly on the lower budget scale.   But for the most part, what’s created for you is going to be custom priced based on the needs of your particular project.

$1,000 – $10,000 is the general range for simpler videos that involve 1 – 2 days of video production either on site or in a production facility, a few days of editing and some graphics, music and sound mix.   Generally you have a very good idea of what you want, there is minimal scripting (or possibly no scripting) to be done and you probably play a more active role in the development of the project vs. bringing in a writers and other creative team members.

$10,000 – $50,000 is the general range for more complex projects that require more time to develop, possibly additional days of video production or larger crews, and more time in the post production process of editing, sound and graphics.   Generally more creative is brought into the pre-production aspect of the project such as writers and such.   You’re still overseeing this project, but more of the overall design and execution is handled directly by the creative team.

$50,000+ is for projects that are larger in scope or require much more creative direction such as national commercials, indie / feature films, product launches and marketing campaigns, live events or major trade show events.   A lot more creative becomes involved in the early stages such as writers, creative designers and more.  Video shooting often gets more complex and the post production and finishing is generally much more refined.

As with anything else, the more time and money you have to put towards a project, the more the project can be custom tailored to meet your exact needs.  Sharing your “not to exceed” budget with a production company up front can yield a much better project from the start.  If the video professional knows your top dollar budget going in, the project can be designed around that budget.   Otherwise a completely unrealistic budget may be presented and then you have to start over designing something completely different.

This happens often as many people simply don’t realize all the costs involved with the production quality video projects.   Even providing a range of budget dollars is of great help to move the production process forward more quickly.

Good luck and have fun!

WALTER BISCARDI JR is a Creative Director in the Atlanta area who has been creating original stories and branded content for clients across the globe including Food Network, CNN, The Weather Channel, Home Depot Racing, Bridgestone Golf, Georgia-Pacific, IBM, Ping Golf, Kroger, The Carter Center, Bill and Melinda Gates Foundation and many more.  Quite simply he’s the guy who makes media messaging and campaign simple.   No technobabble.  Just clear, concise and creative content delivered where and how you need it, on time and on budget.   Contact me today to discuss your next project.

The post Hiring The Right Video Professional For Your Project 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 Production, the 2nd of four phases in the Production Process.

BISCARDI CREATIVE PRE-PRODUCTION (PART 2 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 production? (00:00 – 2:50 )
Production is the part that everyone knows; camera, lights, action. Production is usually the part of the process that taken place once the planning has been done and the shoot begins. However, production might now include crew on location – think about projects that are animated or graphics only productions.

How much time does it takes to set-up for a production? (2:50 – 4:30)
It can take an hour just to unload vehicles for a corporate/industrial shoot. At BCM we typically like to show -up 2 hours early for these types of shoots. That way when talent or executive arrive there is no waiting, we are ready to go. It takes time to do it the right way.

What main components affect the cost of Production? (5:00  – 7:30)
The amount of time it will take to shoot and the required size of crew. Next is technology; what cameras, how much lighting, sound etc. The correct technology for certain jobs is also important. More expensive doesn’t always mean the best for the job at hand. Lastly there is travel which is why we try to hire crew locally to help mitigate the cost when we can.

What ideas have clients come to you with that can usually create an unnecessary cost? (7:45 – 15:50)
The decision to use green screen. It’s one of the coolest technologies but one of the most incorrectly used technologies. (listen to the detailed reason why via the video)

What technologies have come out that are affecting production in a positive way? (16:35 – 20:55)
In this segment Walter talks about the evolution of the importance of the camera versus the lens, pretty interesting! Also, learn how one of the newest cameras by Blackmagic Design is the size of a smartphone and despite it’s size is still effective.

And then we talk a little bit more because we love to talk!

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!

The post The Video Production Process: Production {Part 2} appeared first on WalterBiscardi.com.

*Note: if you are a creative / production professional check out walterbiscardi.com for videos and trainings tailored to developing the industry craft.

This particular Hangout focuses on Pre-Production, the 1st of four phases in the Production Process.

BISCARDI CREATIVE PRE-PRODUCTION (PART 1) | 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 25-minute interview for detailed explanations.

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

Question: What is Pre-Production

It’s the planning stage of any project. During this phase we will gather as much information as possible, put together proposals, conduct planning meetings and complete scripting. It encompasses anything up to the point in which we start production. One thing to note is that today there is a lot of crossover between pre-production and production timelines. Sometimes we may need to jump into production while some pre-production is still being wrapped up. General rule of thumb – the more time you spend in pre-production the more you can, and most likely will, save in production.

Question: What are the questions you ask clients during the planning period?

I ask a lot of questions in the first meeting. More than most but that is because I believe in delivering their vision and you have to dig in order to do that. Example questions I ask include:

1. What is the purpose of the project, why are we doing it?
2. Who’s your target audience?
3. Are their language considerations?
4. How will this be viewed?
5. What should the audience take away?
6. What’s your deadline?

Question: How much will it cost to make a ____ minute video?

Go to 18:00 in the video for this answer!

Final points in the video include why you should actually share your budget (or at a minimum budget range) with your video production partner. And lastly why we cannot make you a viral video. We can make you a video … and it can go viral. But we cannot make you a viral video – don’t listen to the lies instead understand why!

Examples of 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: Pre-Production {Part 1} appeared first on WalterBiscardi.com.

The feature highlights how professionals can now receive great training and expand their skillsets without ever having to set foot outside their homes. They simply need to have access to a computer. WalterBiscardi.com offers online as well as in-person trainings and seminars. It’s online courses provide materials that are free as well as more in-depth content for paid-subscribers. The website was just recently launched in April and exciting content is scheduled to soon go live on the website.

In the article, Walter Biscardi, Jr., a producer, editor, graphics artist and colorist talks about the difference that can be found in training provided by walterbiscardi.com.

“I was thrilled when Post Magazine asked to include WalterBiscardi.com in their recent article on training” said Walter. “Any opportunity to share with industry professionals about our new initiative is always welcome, especially since there are some great aspects to our training that cause it stand our from the rest. For example, all trainings will be provided by real industry professionals that use the tools and practice the craft on a daily basis. Trainings will also include discussions about the business and creative sides of the industry versus solely technical tutorials.

Visit www.walterbiscardi.com for more information and to sign up for regular updates.

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“Training” By Marcus Loftus, Post Magazine {excerpt}

One of the Website’s first large modules is “The Documentary Walkthrough,” a five-hour training series that covers everything a first-time producer needs to know — from when the client first contacts them to all the questions that need consideration before a contract is signed.

“Yes, there are going to be ‘button pushing’ software tutorials, but even with them, we are going to do it completely differently,” he explains. “We want to transcend the tools and talk about the creative. While I might use Premiere Pro to talk about documentary workflow, the concept and the organization that I am presenting will translate to any NLE you are using.”

Biscardi has an entire series planned for Adobe Next, as well as for Resolve, SpeedGrade and Final Cut Pro. {Read Full Article “Training” by Post Magazine}

The post WalterBiscardi.com featured in Post Magazine appeared first on WalterBiscardi.com.

Buford, GA — Biscardi Creative Media (BCM) welcomes world renowned Colorist and founder of TaoOfColor.com, Patrick Inhofer, for his Colorist Flight School, May 30 – June 1.  The three-day workshop is geared towards the craft of color grading.  Inhofer will teach attendees the craft of color grading while bringing them up-to-speed on DaVinci Resolve (and Resolve Lite).  Students in the workshop will also grade a short film along with Patrick. With a limit of 10 students, the workshop will be very interactive.

What is Colorist Flight School?  Colorist Flight School is a systematic approach to teaching color grading technique using a real-life project. Students grade a short film in class—with immediate instructor feedback.

There are three elements to Tao of Color’s Colorist Flight School training (both LIVE! and online):

1. Learn your instrument panel – Currently, the instrument panel being taught in this workshop is DaVinci Resolve and DaVinci Resolve Lite.
2. Practice in a ‘Flight Simulator’ – Training is nearly 100% project-based. The key to becoming confident in color correction is by knowing you can match dozens of shots into a seamless continuous whole. And the only way to gain that confidence is to grade dozens of shots telling a single story. In the workshop students are provided a short film with notes from the Director—the ‘Flight Simulator’—encouraging the development of muscle memory and confidence for students to do it on their own.
3. Feedback – The training (LIVE! or online) always provides attendees with actionable feedback of their work.

During the event students will grade a short film that the entire class color corrects together over 2-3 days!  Workshop facilitators will provide a USB 3 hard drive with the short film and project files—for students to take home and continue practicing.  Students will be licensed to use excerpts of the short film in their color grading demo reel and in private client demos!

“We’ve been working with Patrick for the past six months to develop this workshop,” said BCM Principal Walter Biscardi, Jr.  “I wanted this to be a very small class allowing more one on one interaction with the instructor.   The fact that attendees will not only be able to grade a short film with Patrick but will also be able take home the footage after the class is simply incredible. I’ve not seen anything like that offered before.”

Who should consider participating in Colorist Flight School?  Editors, Colorists, Assistant Editors and beginning Davinci Resolve Users.  Colorist Fight School is practical training designed to further the careers of industry professionals.   The three-day workshop will be hosted at Biscardi Creative Media’s production facility in Buford GA, May 30 – June 1.   This is the second training event to be held at BCM with more events in the planning stages.

“I’m fortunate to have a many talented friends in this industry and we’re developing more of these small, very high end training opportunities for folks who want to go beyond just learning how to push buttons,” said Biscardi.  “Between these live events and our newly launched WalterBiscardi.com website we aim to become that missing link resource that advances professionals’ careers through practical, useful knowledge of all aspects of our industry.”

For more information or to register for Colorist Flight School LIVE visit http://www.biscardicreative.com/events-and-trainings/colorist-flight-school-live/

For more information about WalterBiscardi.com visit http://walterbiscardi.com/

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Media Contact

Walter Biscardi, Jr. 770.271.3427 walter@biscardicreative.com

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 Biscardi Creative Media Announces: Colorist Flight School – Live! appeared first on WalterBiscardi.com.

A Production Website Focused on the Creativity and Business Behind the Technique

Atlanta, Ga. — Millions of creatives the world over know editor & Post Production specialist Walter Biscardi, Jr. thanks to the CreativeCow.net website where he has shared knowledge and advice to countless people since 2000. Over 25,000 online posts later, Walter is sticking to his roots of helping to educate his production and entertainment peers. With the launch of WalterBiscardi.com, Biscardi will provide a robust platform of education and development to both budding professionals and veterans of the industry.

“I wanted to create a medium where people could learn from others who earn their living “in the trenches” day in, day out, meeting deadlines and having to push creative limits on a regular basis. So WalterBiscardi.com is brought to you not by professional trainers, but what I call professionally certified artists” said Walter Biscardi, Jr.  “What you absolutely will not find on this site is a professional trainer who does little more than read a manual and then regurgitate back to you and call it training. The idea here is to look beyond just the technical and get into the craft of what we do in all aspects of Production and Business.  Once you know how to push buttons, you need to know what to do next to have a successful career in this industry.  We plan to be that resource.”

WalterBiscardi.com expects to be an effective resource by not only offering webinars and on demand-based education, but live workshops in Atlanta, GA as well.  Such as the recent two day Blackmagic Cinema Camera workshop with Marco Solorio held at Biscardi Creative Media. Regardless of how participants learn best, online or in-person, Biscardi believes in making valuable knowledge accessible to everyone.

The site itself will house extended modules, tutorials and advice from creator Walter Biscardi, Jr. along with other hand-selected artists in the industry with varying focuses from Editorial, Sound Design, Color, Photography, Producer, Public Relations, Research & Development, and Business Development & Growth. One such contributor is colorist Ron Anderson whose impressive list of projects and credits span 30 years and range from the NASA Space Shuttle launches, to feature films, nationally syndicated television shows such as Tyler Perry’s “The House of Payne” and numerous commercial clients.

The caliber of knowledge visitors can expect is nothing short of the best. Said Walter of the site, “No one person can know and teach everything. The contributors that you will find on WalterBiscardi.com are the people I regularly look to learn from.  They understand not only the equipment and software, but how you need to operate in order to meet deadlines, specifications and manage time.  At the end of the day, this is a service based industry and to serve both yourself and your clients better, you need to better understand the craft and business side of our industry.   The team we’re assembling truly believes in quality and we all look forward to building a distinguished catalog over the next few months and years.”

WalterBiscardi.com is an initiative of Walter Biscardi, Jr. and Biscardi Creative Media. For more information visit www.walterbiscardi.com or www.biscardicreative.com

ABOUT WALTER BISCARDI, JR.

Walter’s career began with editing for a national and international audience at CNN. His experience grew as he took on new challenges over the years. In 2001 he started Biscardi Creative Media and in 2013 launched sister company, MTWD Entertainment to seek out and create original programming for all media. Biscardi has produced and edited programming that airs on The Food Network, NBC, The Weather Channel, Georgia Public Television, PBS, among others. A recognized industry leader, Walter has been recruited by companies such as Apple, Adobe, Autodesk, Panasonic, AJA Video Systems, ATTO  Technologies, and Small Tree Communications to test and find ways to improve hardware and software solutions for the film and video industry. He counts a national Emmy, Peabody, Regional Emmys, CableACE awards, Telly & Aurora awards among his many honors and credits.

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Media Contact

Walter Biscardi, Jr. 770.271.3427 walter@biscardicreative.com

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First off, I used software called Punch Home Suite to design my entire facility.  Pretty inexpensive and the beauty of it is that it’s completely accurate to scale.   Each suite is basically a rectangle 13′ deep and about 12′ across.  (the drawing says 11′ 6″ but we changed that to 12′ during construction) This allows plenty of space for the edit console, the editor and a client or two to work comfortably.   A small thing to note, the editor with console sits opposite the entry door.   This allows a client to walk into the room and go straight to the client desk without having to walk around the edit console.   Also, we installed full glass doors so we can look into the room without opening the door to see what’s going on.   When we’re giving a tour of the facility, this allows us to show the room without having to disturb the edit session.

Pretty much exactly as you see it on the drawing with no surprises.  If you look at the lower left of the photo you can see how the cabling comes out of the wall and directly to the Anthro console so it’s not messy and distracting to the client.   The rooms all have drop ceiling so if we need to run additional cabling in the future, it’ll be a piece of cake.   There is insulation above the edit suites to again help with sound dampening between the rooms.  The front wall where the plasma screen hangs is painted in 18% grey.    The dog bed is entirely optional depending on your needs.   Now let’s break down the room by component.

Yep, I’m starting with the chair.  I’ll bet that’s the LAST place many of you put the chair.  Think about it.  You’re gonna be sitting in this thing for hours on end.  Don’t you want to be comfortable?   And you don’t need to spend $500 – $1,000 to get a high quality chair.   How about a $169 Pro-Line II Chair from Costco.   Shipped directly to your door.  Yep, these chairs are so comfortable I ordered them for every suite.    So while you might not make the chair your first priority, DO make it a priority.

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Absolutely positively vital is your edit console.   I’ve seen and used all manner of consoles, edit desks from build it myself to the classic Winsted units and I have to say, I’ve never found anything so well laid out and versatile as the Anthro Fit Console system.    First off, they are completely rugged.  Two of our Anthros are going on three years old and they still look like they just came out of the box.   Now these consoles are not the cheapest desks in the world, but I find they are worth every penny.  Look at the amount of room that’s across the main desk to hold monitors and gear.   They are incredibly strong and can hold a lot of weight.   They keyboard shelf alone can hold 40 pounds, so more than enough strength for, say a Davinci Resolve panel.   And actually calling it a keyboard shelf is a misnomer, look at just how large that shelf really is.   I have a standard keyboard on the left and a medium WACOM tablet on the right and there’s still plenty of room for notes and whatnot.    The one thing I do change on the keyboard shelf is the position of the clutch that locks the shelf into position.   Where the instructions tell you to put it, the arm of your chair will constantly run into it.   So I move it much further to the right.   This keyboard shelf has a huge range of motion both down and up for the ultimate in comfort of how you like the sit.   My favorite feature of the desk is that allows for the editor to stand if they wish as seen in the next photo.

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Here you can see the keyboard shelf lifted up to its upper position and I’ve got the monitors tilted so they are in a more comfortable position for viewing while standing.   As noted in a recent article on the Pro Video Coalition website, prolonged sitting could be just as dangerous to you as smoking.   Sitting for hours and hours, even in those wonderful chairs I showed you above, is not good for anyone.   So I tend to stand for about half the day, usually after lunch, as I just find it makes me feel better to stand for a while.    With the way the keyboard shelf sits, it’s just as comfortable standing as it is sitting.   The main desk measures 6 feet across and then I added the two outboard shelves you see on either side bringing the entire width to 8 feet.   I like adding the outboard shelves for a little more room for my scripts, notebooks and even my laptop / iPad.    When you look at the Anthro site you’ll see they have something like 40 accessories for this unit so you can literally configure this to suit any need.    A big plus for these consoles are the casters on the bottom allowing us to easily move the desk around as needed, which is particularly useful for cleaning the floor.   One other accessory I add to all of my consoles are the Standard Swing Arms for the monitors.

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Anthro has two different sets of Swing Arms, the Standard and the Heavy Duty.  The difference is how much weight the arm can support.  In our case, the Standard is more than strong enough to hold our Dell and even the Flanders Scientific monitors.  You can see how they have plenty of room to swing left and right and the monitors tilt up and down independently of the arms.   This gives each editor the ultimate freedom to position the monitors as they like them, not just limited to a set height and tilt by a monitor base.  And of course, the arms allow the monitors to raise up and tilt when we’re standing.   These arms are about $250 each so they add $750 to the cost of each console, but I purchase them because they contribute to the comfort of the editor.  Put the monitors in a position that’s comfortable for you and not just a set location.   In particular older editors will move the monitors further away while younger editors keep the monitors closer.   It’s that whole “after age 40 your eyes start to go” thing.    Also notice how I’m able to position the audio board underneath the foreground monitor.   By lifting the monitors off the console, it gives us even more room to put additional gear.  Do you NEED these arms?   No, but for my money, I’m after comfort and versatility for 10+ hour days, especially when I want to stand up and these arms put the monitors in perfect position for that.   Since we’re on the topic of monitors, let’s look at those next.

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We run a standard three monitor configuration.  Dual Computer monitors and a broadcast reference monitor.    The computer monitors on the left are the Dell UltraSharp U2410 24″ model.    They are very sharp and as close to the Apple Cinema Displays as I’ve seen.   I had originally planned to start transitioning the entire facility over to the Apple Cinema Displays, but the stupid Apple Mini Display cable caused all sorts of issues for us which I’ll address shortly.  So I went with these monitors and they are quite reasonably priced for the quality.  I tend to run monitors for three years and then they are replaced and so far, the Dells we have owned over the past few years have held up extremely well.   A nice bonus to these monitors are the four USB ports on board.   Gives you extra room to plug in a flash drive, backup drive, control surfaces, etc…  Now I would like to switch over to the newer LED monitors as they run with less heat and electricity but the problem I have run into is many do not support the VESA mounts required to put the monitors on the Anthro Swing Arms.    The monitors are so thin, there’s no room to run the screws to hold the VESA mounts in place.  I’m hoping some of these monitor manufacturers will start adding some outboard plates or something like that so we can mount the screens on the swing arms.   I’m actually starting to write to Dell, HP and Samsung to find out if they are going to put some sort of provision to allow their monitors to be mounted on VESA plates.

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I know there are those out there who run the Dell or HP DreamColor monitors as a “broadcast reference” monitor but I don’t buy into that.   These monitors were designed as computer displays and as such optimized for a progressive graphical display.  The color setups are not fully accurate for broadcast.   Yes you can get calibration software / hardware that can get the monitors close, but for me, I’d rather use the monitors as they were designed and not force them into being pretty good at something else.    For accurate video monitoring I believe in purchasing a true reference monitor and in our case we run a lineup of Flanders Scientific models.

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This is the FSI LM-2460W model that we use in two of our suites.   We also run the 1760W, the 1770W and the new 2461W models.   Each model comes standard with the same inputs.   Two SDI inputs, Component, Composite, and DVI with easy push button controls on the front to switch between them.   And all of those inputs except the DVI have loop through so you can send a signal to the FSI monitor and then loop that signal out to another display such as a Plasma screen.   There are 5 menu presets so you can quickly bring up video scopes, safe title markers and even custom markers.  In fact there are something 30 or more features you can bring up with the various menus that make these units incredible versatile for work.   Most importantly, they accurately display colors for both video and film.   Most importantly for me, they accurately display interlaced video which is extremely important when converting Standard Definition video to High Definition or vice versa.   Why?  In most cases you’ll be reversing the interlacing which could lead to horrendous video quality with very obvious stuttering or bad interlacing issues.   In fact, when converting Standard Definition to progressive HD, there can be issues with the conversion which you won’t see if you don’t display the image correctly.

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I’ve heard the argument that FSI just uses the same front panel as many of the computer screen manufacturers so obviously it’s just the same screen so why spend more for the FSI?  There are only 2 or 3 actual panel manufacturers so many of the monitors you buy, regardless of the nameplate on the frame, do have the exact same panel on the front.  So what separates the various models you see?   The construction of the frame, the amount of inputs (and outputs) and the electronics behind the panel.   Especially the electronics, this is what separates the quality of the image you see on the panel along with the accuracy of that image for various applications.   A Flanders Scientific monitor is set up to display video accurately along with very accurate color for the application it’s being used for.  For my money and our work, we need a very accurate monitor so we can give our clients the best looking product we can possibly produce AND meet very stringent broadcast standards.   I have looked at other broadcast monitors and have not seen anything in this price range that comes close to the quality of these monitors.   To get “better quality” you need to step up to around the $10,000 range.   But honestly when you look at these monitors side by side with just your eyes, you’re hard pressed to see a difference.   At least something that makes you say, “I HAVE to have that much more expensive monitor.”   The FSIs are priced reasonably enough that I can afford to put one in every single edit suite and that’s important because that means each and every edit suite can finish a project. I don’t need to send the project into the “finishing room” which has the best monitor in the shop.   ALL of our suites are finishing suites which makes us much more efficient.    We have one more monitor in each of our suites that hangs on the wall.

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This is the Panasonic TH-42PH11UK 42″ Plasma display and we run a variation of this model in each of our edit suites.   We have the 9, 10 and 11UK versions of this model as we’ve purchased multiple units through the years.    Now this is the professional version of the same Panasonic Viera model you can purchase in any electronics store.  The display itself is identical between the consumer and pro models.   Depending on the week, either the consumer or pro model will be cheaper, though usually the pro model is actually cheaper.   Why?  No television tuner included in the pro model.   Generally pro models are not used as a regular television so there’s no tuner put inside.  But the real reason I like the pro model is the modular input design.   There are three slots for inputs on the bottom of the monitor that can be changed out depending on what you need.   For instance when I started using my first plasma display, HDMI was not out yet.   But when I needed an HDMI input a few years later, I was able to add it to the display buy purchasing a new input module.

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We use these monitors for two reasons.  One obviously for the client to view their projects on a larger monitor.   This is especially useful in the rooms that use the 17″ reference monitors.   It’s always nice to be able to see your project up on the “big screen.”   Although I will say we were all surprised at how small these monitors look hanging on a 13′ wall with 9′ ceilings.  If I were to do it again, I would go with 50″ displays in our rooms.   Second, when a project is completely done, we watch it down on the plasma screens.   The larger monitor just makes it easier to spot any mistakes or issues.   Typos, glitches, flash frames, whatever, just all seem to jump out at you when you’re looking at a 42 to 65″ display that we sometimes just miss for whatever reason on the 17 and 24″ displays.  I much prefer plasma to LCD displays for the client monitor in our suite because of the excellent representation of the black levels in the image and the incredible field of vision.   You can sit almost 180 degrees to the side of this screen and still see the image and the correct colors.   With an LCD as you move off to the side of the monitor, the image tends to go milky.   Since we could have 2 to 5 people in a suite watching the final rundown, I want that image to look the same to everyone at the same time.   Now let’s look at audio.

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The classic Mackie 1202 audio mixer.  It would not surprise me if this is the best selling audio mixer ever.   Seems like every edit suite has one.   But with todays digital I/O’s and digital formats, why the heck do we still use them?     Well they do still give us flexibility in a shop like ours.   We do have a machine room with 7 edit systems, 6 VTRs, DVD and BluRay players, and ProTools playback.    So those four audio inputs you see across channels 1 through 4 are full patchable.   In normal mode, Channels 1 and 2 are fed by our Kona boards so we can listen to our edits.   Channels 3 and 4 are open for any other inputs such as from a VTR.    Like when mastering to tape, very often we will watch and listen to the VTR instead of the playback of the edit system.    This will tell us immediately if there’s an issue with the signal going to tape.   And if we hear an anomaly, we can instantly bring up the edit system output to see if the anomaly is on the output or something internal to the VTR.   In addition, if we hear something wrong in one of our edit suites, say crackling in the audio, we can patch that system’s output to another room and listen to see if we hear the same audio issue.   Finally, these boards have dual AUX outputs which is incredibly useful with our new VO booth.   We can connect a microphone to the audio board so we can talk back to the talent in the VO booth and we can also feed their own audio back into the headset.   This means we can record a VO in any edit suite and not just a dedicated audio suite.    So having the mixing board with at least four inputs is very useful in our situation, not to mention we use the board as a volume control for our audio monitors.

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In all our suites we run the KRK Rokit 5 self-powered audio monitors.   Excellent flat quality with a little touch of extra bass that you can really trust to mix your projects on.  If your mix sounds good on these, it will sound great to the client as well when you deliver the project.   KRK makes a whole line of these Rokit models and they all sound great, I prefer the 5 model because they’re not too big and perform really well in edit suites and you can’t beat the price, usually less than $100 each and sometimes you can get them $150 or less for a pair.   If you have a large room, you’ll want to augment these with another set of monitors as these are really near field, which means they sound best close up.   To fill a large room you’ll want something larger or something designed for a larger room.   You’ll also notice if you go back to the original photos in this article, the monitors are angled in towards the editor.  You want the monitors at ear level and pointed towards your ears for the best monitoring set up.   When they are set correctly, the sound should appear to come from the center of your console.  We feed these with 1/4″ jacks from the Mackie audio boards though they also have XLR and RCA inputs.

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Those pads you see underneath the monitor are Auralex bass pads to keep the monitor from rattling on the stands, especially during heavy bass playback.   Now those stands are nothing fancy.   Some 1/2″ galvanized pipe from Home Depot with flanges, 8″ pine shelving cut to size, and a can of black spray paint.   I believe the pipe itself is 8″ long so the monitors are raised up off the console about 9″ including the shelf.   Since the galvanized piping has screw threads on both ends, I can easily swivel the monitors if I want to point them more out into the room for client review.   Now back to one last tool in the edit suite.

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Since 1996 I have been using WACOM tablets pretty much exclusively.  It completely replaces the mouse and in my opinion makes an editor much more efficient than using a keyboard / mouse or keyboard / trackball combination.   This unit is the Intuos 4 Medium size model.   Here’s one big thing the tablets do, they completely prevent carpel tunnel syndrome.   You don’t have the repetitive finger click that causes the carpel tunnel when using a mouse over long periods of time.   I actually find my wrist getting fatigued after a very short time when using a mouse.   In fact, a Producer thanked me because he already has carpel tunnel so bad he wears one of those braces to keep the hand steady, but he can slip the pen into the brace and keep working.    It takes about 2 or 3 days to really get used to using a tablet, but once you get the hang of it, I guarantee, you will never use anything else.   When editing in an NLE, I use it like a straight mouse but it’s much more precise.  When working in applications like Photoshop, After Effects and Apple Color, I can work the controls, draw shapes, erase elements with complete ease.    The eraser and side buttons are fully programmable so you can have keystrokes and button clicks at the ready.   WACOM makes multiple models of tablets and I find the Intuos line is the most precise and lasts the longest in day to day use for editing.   Generally they last about two years before we replace them.

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We include a Client Computer in all of our edit suites as well.   Now regardless of whether you need a “client computer” or not, I highly recommend having a second computer other than your edit workstation to check emails, surf the internet, watch YouTube videos, Tweet, etc….   Why?   Because your edit workstation is making you money.  Let it work.   Let it render, let it edit, let it lay to tape or whatever it’s doing uninterrupted.  Use a laptop, iMac, iPad or whatever to do all that other “stuff” and just keep your edit workstation clean to work.   In our case, we have basic iMacs in all the rooms and they serve multiple purposes.   First and foremost, when a client comes in the room, they have a computer to use.   Most clients have a laptop with them, but if they don’t, they’re welcome to use these.   The iMacs are connected to our SAN so the clients can review raw materials from these machines without the need for the editor to sit and go through everything with them.    In addition, the editors use these computers to upload / download materials to / from our FTP servers directly to / from our SAN.   And if we get towards the end of the day but still need to upload some large files, we’ll pull the files directly onto the iMacs so we can shut down the edit workstations and SAN but still get the file uploaded.    The desk came from IKEA.  The director light was a spiffy gift from the fine folks at TapeOnline.com

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So there’s a look at our main edit suite.   How many of you noticed that something is missing in the original photo?   Do you see it?    Well what you don’t see is the Edit Workstation and the Media Array.  When I first started out I always had them in the room with me.   But as the media arrays got larger, and the computers got more powerful, they got louder.   To the point where it really started to get a little distracting in the edit suite.   And sometimes it’s tough when you hear a hiss or a strange sound if it’s in the audio mix or if it’s coming from the fans on your computer and arrays.   So for the past three years now we’ve run the computers remotely.

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We use two different products from Gefen because quite honestly, they can be very flaky to set up.   If one unit doesn’t work, Gefen’s answer is usually to send us the other.   Here you see the DVI Over Cat6 unit.  We run Cat 6 Ethernet cable between the machine room and our edit suite.  Two cables for the two monitors and two cables for USB connections like the keyboard / mouse / tablet, etc…   The Cat 6 connects to this receiver (that’s the grey cable near the Gefen logo) and then the monitor DVI connection also connects to here.   There are two receivers here, one for each of the computer monitors.   In the Machine room there are two identical units that are Senders which connect to the DVI connections on the Mac Pro and then the Cat 6 cable runs directly to the Receiver.   We can put the computers 100 feet away from the monitors and keyboard using these units.

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This is the other Gefen unit we use, the 5500HD.   This can send two DVI and four USB signals via the single box instead of having to use a unit for each connection.   We prefer this unit because it’s an “all in one” type of setup.   Here you see two of the Send units mounted in the machine room and an identical Receive unit sits in the edit suites.  As I said, they can be flaky at times but unfortunately they are the only choice we have right now.  I’ve been trying to convince a few other companies to come out with an alternative and am hopeful one of them will eventually.

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Oh and remember I said I would address the “Stupid Apple Mini Display” issue.  Well the Mini Display and these Cat 5/6 Extenders simply do not play nice together.    When we tried running the Apple 24″ Cinema Display with the Cat 5/6 extenders, sometimes the monitor would work, other times it wouldn’t start up at all and other times it would simply go blank for no particular reason during a session.  Could take anywhere from seconds to over 30 minutes to get the monitor working again.   Same with the mini display port on some of the newer ATI cards in the new Mac Pros.  Our ProTools rig has one of those and every time we start the machine, that connection is always snow.   We have to disconnect and reconnect the mini display plug at the Mac Pro very quickly to get the signal to work.  So there you go, Apple Mini Display and the current Cat 5/6 Extenders don’t play well together.  Sigh…..

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Here’s how it all comes together in the Machine Room.   All the edit workstations together, nice and neat which makes it easy to maintain all of them.   So all that noise from all the machines is kept in one place while the edit suites stay really nice and quiet.   Again, it’s a real comfort thing to the client and the editor alike.  They are working in a quiet room without all that white noise making for a more pleasant working environment.   Another big advantage?   We keep the machine room cold, but we don’t have to chill down each individual edit suite to keep the equipment cool.   Again, more comfort for everyone.   Yes, I have gotten a few comments along the lines of “well if the computer is in the machine room, then I have to get up to go put in a DVD or attach a flash drive or whatever.”   Yep, that’s true.   The editors who work with us, like the quiet and comfort of the edit suites, they don’t seem to have a problem walking a few steps down the hall to the computers when necessary.  And I’ve never met an editor who had difficulty walking to the break room to get a cup of coffee or tea, so if you can do that, you can certainly walk to the machine room.

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Now even if you have no need for a machine room, if you can get the edit workstation out of your editing room, do it.   You may not even need extenders like we have. If you can put the computer 35 feet or closer to your keyboard / monitors you can actually buy direct connect cables that will work with those distances.   USB Extension Cables and 35 foot heavy duty DVI cables do work for those distances.   If you’re working at home for example, put the computer out in the hall or punch a small hole in the wall between your main room and the next room and put the computer in there.   Just ensure the computer has plenty of air flow and is kept relatively cool.   We run our machine room at 71 degrees which is warmer than many other facilities, but I don’t see a need to keep the room around 65 or lower.   The equipment stays plenty cool at that temp.

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So there you go the anatomy of an Edit Suite with some of the hows and whys of what we do to set up our rooms.   I hope some of this is helpful to you as you set up your suites, your rooms, you basement workshops or wherever you may find yourself editing video content.  Some folks have asked me for particular configurations of the software and hardware that we run.   Here’s more on that.

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Main Edit Workstations:

Fastest Mac Pro available at the time of purchase

16 to 24GB of RAM

Top of the line ATI Graphics Card (for fastest Apple Color operation)

Two additional Hard Drives internal.  One is an AUX drive where we store graphics and other files for various projects.  The second is the “new OS drive” where we do clean installs of new OS versions.

Apple Final Cut Studio software package

Adobe CS5 Production Premium software package

AJA Kona video card.  Kona 3, 3G and LHi all in use.

Telestream Episode Pro (on a couple of workstations for video compression)

Cyberduck (for FTP uploads / downloads)

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Davinci Resolve Workstation

Mac Pro Westmere 12 Core 2.93 Ghz

24GB of RAM

Dual nVidia cards including the 4800

BlackMagic Decklink Extreme 3D video card

Two additional Hard Drives internal.  One is an AUX drive where we store graphics and other files for various projects.  The second is the “new OS drive” where we do clean installs of new OS versions.

Apple Final Cut Studio software package

Davinci Resolve

Tangent Wave Control Panel

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ProTools Workstation

Mac Pro 8 Core machine

16GB of RAM

ATI Graphics Card

AJA Kona 3 video card

Two additional Hard Drives internal.  One is an AUX drive where we store graphics and other files for various projects.  The second is the “new OS drive” where we do clean installs of new OS versions.

Apple Final Cut Studio software package

ProTools HD Native 9.0

SPL 5.1 Surround Controller

Genelec 5.1 surround monitors.

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And lastly, here are the links to everything I’ve mentioned in this article

 

WH Platts Company One of the best Value Added Resellers in the United States.  80 to 90% of everything in my shop has been purchased through Platts.

Punch Home Design Software What I use to design the layout of facilities.

ProLine II Chair

Anthro Fit console

Anthro Outboard Shelf

Anthro Standard Flat Panel Arm

Dell UltraSharp U2410 Monitor

Flanders Scientific LM-2461W

Flanders Scientific LM-1760W

Mackie 1202 Audio Mixer

KRK Rokit 5 Audio Monitors

 

Auralex Monitor Isolation Pads

Home Depot Galvanized Pipe

Home Depot Galvanized Flange

WACOM Intuos 4 Medium Tablet

IKEA Computer Desk

Gefen DVI over Cat 6

Gefen 5600HD Cat 5 DVI / USBApparently they have updated the 5500HD model

Middle Atlantic Slim 5 Racks The Racks we use in the Machine Room

Small Tree ST RAID II The 48TB Raid in the Machine Room.

AJA Kona

BlackMagic Design Decklink Extreme 3D

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In this quick Final Cut Pro tip, Walter Biscardi, Jr shows you where to find a much better font tool.

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In this quick tip, Walter Biscardi shows you a quick and easy way to start organizing and controlling your fonts.

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