SAME Cafe – Production Notes

Per my earlier post, I’ve been working on my SAME Cafe piece in post-production. I tried to employ a technique suggested by Ed McNichol in CreativeLIVE’s online workshop “Vincent Laforet: Introduction to HDDLSR Video.” The idea is to lay down a “radio cut” that consists of audio, build the storyline based purely on audio, and then layer on top of that “radio cut” other video clips, images, and sound effects to propel the viewer/listener along.

SAME Cafe is an interesting “alternative” restuarant, opened by ex-computer consultant Brad Birky and ex-schoolteacher Libby Birky, offering high-quality food to all who come. SAME Cafe doesn’t list prices for its lunch offering. Those who can pay, pay what they feel is fair. Those who cannot pay (or who can only pay part of what would be fair) can either work at the Cafe — or even eat for free. Brad and Libby have been operating the Cafe for 5 years and are dedicated to providing high-quality food and creating a comfortable community restaurant for all to enjoy that food. It’s a very interesting idea, well-executed by the Birkys.

In editing the SAME Cafe piece, I roughed out these core concepts that I wanted to cover:

  • Origin
  • Concept
  • Goals:
  • – Quality
  • – Pricing/accessability
  • – Community
  • Financial viability
  • Movement

I built an audio track using a combination of video clips and pure audio segments, coving these points in what I thought would be an interesting sequence. I ended up shuffling the sequence a few times until I got a finished radio cut that sounded interesting and pulled the listener through the story line. I then started layering video clips over the top of the radio cut. Again, this was an iterative process that involved shuffling the video segments to try to tie them to inflections and discussion points in the underlying audio.

Here’s where I’m at: Version 2 (pending some tweeks to synch up audio to video and more interesting graphics to start and end the piece).

Are You Ready?

I’m covering two high school football teams this year. Both are entering the playoffs for the Colorado state championship. Football is an amazing sport to photograph because the energy level runs so high. There’s nothing like being on the sidelines in a big game – you can almost touch the excitement and smell the passion. I tried to capture a bit of that experience in this 30-second short for one team — designed to energize the team on their journey. Good luck guys! Go Mustangs!

SAME Cafe – Project Notes

I’m starting a project to profile two owners of SAME Cafe in Denver, Colorado. SAME Cafe stands for “So All May Eat”, and offers high-quality, nutritious food on a “pay what you can” basis. Brad and Libby started SAME Cafe 5 years ago and are passionate about their restaurant and the community that they’ve built around that restaurant.

Jennifer at my day job lead me to the SAME Cafe when I enquired about interesting people working in the non-profit sector who might be interested in posing for a photographic portrait. Jennfier told me a little about SAME Cafe and suggested that I contact the owners. Brad and Libby were very accessible and willing to pose for a portrait; we had a great time one afternoon punching out a couple of versions where I could test some strobe lights.

I was intrigued enough with Brad and Libby’s restaurant to contact them again to see if they’d be up for a “video portrait”. I want to try out some editing techniques that Ed McNichol outlined in CreativeLIVE’s online workshop “Vincent Laforet: Introduction to HDDLSR Video.” Doing a quick profile of the SAME Cafe sounded like a good subject for that test. McNichol has developed a methodology to efficiently edit an interview video. I’ll describe the process in more detail in a later post, but basically it involves first building a “radio cut” of video sequences, focusing exclusively on the audio storyline, flow and pace, and then overlaying visuals on top of that audio foundation to build up the visual quality of the final production.

Step one was to record some interview segments. I scheduled an appointment with Brad and Libby to record audio and video interviews about the origins and motive behind setting up SAME Cafe. I used my Canon T2i to capture video (I was really only looking for an introductory head shot to introduce both Brad and Libby as narrators), and my Marantz PD661 with a lav mic to record separate audio. In this first session I recorded about 35 minutes total audio recording.

I’ve just submitted the transcription job out for bid on Elance. Although transcribing 30 minutes of recorded audio wouldn’t take too long, it would be just another thing to do. I also want to line up a transcriber who can help with future jobs and take that element off my plate.

Next up: Ed McNichol’s approach to building a “radio cut” as an audio foundation.

D’Evelyn School Video

I’ve been working on a multimedia project that describes a lottery-based-admission public school in the Denver area. The school wants a video to embed into its website that explains what the school offers and how it differs from other public and private schools. Interested parents and students, after watching the video, will be encouraged to attend one of several live events where teachers and administrators present more detailed information and answer questions. Students routinely score at the top of Colorado’s SAT and ACT scores, by school, but the lottery acceptance rate is about 25% of those who apply. So there’s fairly high demand for information about the school and the lottery process from interested parents.

We began this project by forming a steering committee composed of parents, administrators, teachers and board members from the school’s educational foundation. At our first meeting we tossed ideas around about what information we wanted to present, and the best way to present that information in a video or slideshow. After discussion, we settled on a general structure to propel the presentation forward: describe what the school is and describe what the school is not. I used as a reference a website of an outdoor wilderness program, Boulder Outdoor Survival School (BOSS). BOSS’ website describes its programs (teaching skills once widely known by native peoples that allowed them to thrive in various environments) and, in addition, describes what it does not offer (military survival programs, troubled youth therapy programs, etc). BOSS does a great job of defining itself by highlighting what it is not. We agreed to use that structure as our model.

Next, we collectively built a series of statements about the school (what we are, what we aren’t) that served as an inventory of ideas to capture and present in the course of production. That list served as my guide as I planned shoots and recorded audio. The Committee also used the list as a checklist to confirm we were including enough core material within the constraints of 3-5 minutes over several versions (6 actually) that I submitted for review.

The project is nearing completion. I’ll post it here as an example when complete.

Project Review: Udayan – Refuge from Leprosy (Part 2)


The purpose of this project was to document the activities of Udayan, an Indian non-profit, for their fundraising purposes.  It was not simply a description of what the organization does.  More importantly, through this project I wanted to create an emotional connection between the viewer and Udayan by showing how Udayan’s activities impacts the lives of people (in this case the children at Udayan and the parents suffering from leprosy who place their children in Udayan).


Was the final project a success at creating this emotional connection?  Partially.  In a perfect world I would have:

  • Before the Shoot: prepared my image & audio “capture list” on a storyboard (another post on my how I storyboard coming up)
  • Day 1: shoot & record audio, looking for breadth of coverage, context, and some start at the narrative elements (interviews, portraits, activities, etc) identified in my storyboard “capture list”
  • Evening 1: roughed out my story with images & audio that I captured, and identified gaps or areas that I wanted to focus on
  • Day 2: shoot & record to fill in gaps and flesh out the characters and narrative
  • Evening 2: Continued editing and refining content
  • Day 3 / Evening 3: same cycle

But it’s not a perfect world, is it?  Nope.  Given the logistical snags, I had just 1 day to shoot & record audio.  So I went for breadth – making sure I had something in each area I needed to cover: images of location & context, characters and activities; interviews with enough people so I could intertwine comments and interview segments with my narration; some audio recording of ambient sound that would help set the tone and tell the story; and a little video of some of my interviewees to introduce them during the slideshow.

If I had the luxury & budget to spend additional days at Udayan, I would have sought out an individual character or two guide the viewer through this experience.  I would replace my narration with their voices, and let them tell the viewer about the facilities, the school programs, and what it’s like to be tested for leprosy each month or to return to a leper colony to see your parents.

Udayan girl visits her parents in a leper colony

I would add some missing elements (e.g., I don’t have a good image or video clip of the facilities & grounds; I would love to show the children both at play and in the dormitories) and improve some transitions.  I would have gone back to some items to get stronger images & audio (e.g., get some close-up, detail shots and audio interviews with the children).  In a short period of time, you’re doing well to get images and sounds to communicate basic information.  With extra time, you can build up characters who will move the storyline forward – and also personalize the information.  That’s the better way to create an emotional connection because face it: no one is emotionally connected to raw information.

Lessons Learned

First, when you travel to a project site, make sure you have contact information for several people that can help you.  Don’t rely on just one person – you never know if they’ll end up in the hospital.  And make sure you can connect several ways: get a phone and email for each person.

Second, build in more time that you think you need for your project, especially if you go long distances to get there.  You probably won’t have time or budget to get back – so you’ve got to get the information you need for your story in the time available.  And things will undoubtedly go wrong to cut into that time.  Plan for those distractions.

Third, rough out an idea of the storyline and what you’ll need to craft that story visually and with sound.  Walk into your shoot with specific ideas on what you need to capture (images, video clips, sound).  Your storyline may change over time, and you’ll absolutely play with the sequence and pacing of various elements in your story, but knowing what basic images and sounds you need to capture at the front end will increase your odds that you’ll have enough useable material to work with when you leave.

Forth, keep the big picture in mind.  Painters usually sketch out the entire canvas before they drill into a particular area.  Get enough raw material to tell the whole story first, even in a rudimentary form, and put the images and sounds together in a rough sketch while you’re still in the field.  Then circle back and fill in gaps, and build up elements that you want to emphasize.


Project Review: Udayan – A Refuge from Leprosy (Part 1)

As a starting point, I’m going to dissect a recent multimedia project I recently completed, going through the process of visualizing the project; pre-production considerations like lining up access, permissions, releases and thinking through logistical details; equipment used during the project; what I encountered during the actual shoot (and how flexibility and a sense of humor can help you ride out some tough ones); post-production activity to consolidate images, video and audio capture into an intelligible whole delivered via the Web; and a recap of lessons learned.

The Project: Documentary of Udayan – a Home for Children Affected by Leprosy

Udayan is a non-profit organization located on the outskirts of Kolkata, India.

Udayan girls eat lunch at the cafeteria

Founded 40 years ago, Udayan now houses 300 children whose parents suffer from leprosy. The organization provides housing, education, medical treatment, food and vocational training for each of the children, most of whom arrive at Udayan at a very young age to live the balance of their childhood within its walls instead of living with their parents in leper colonies and/or poor villages. (Most adult lepers in India live as beggars.) The children visit their parents during school breaks (and in fact I accompanied 3 students to visit parents during my visit).

I arranged to create a documentary slideshow of Udayan to highlight its activities and show its impact on the lives of these children. Udayan plans to use this material for fundraising purposes.

Part 1: Pre-Production Planning

Through some former work colleagues now located in India, I made contact with James Stevens, founder of Udayan. 40 years ago, James left his successful haberdashery business in England to do something more meaningful with his life. He founded Udayan and then borrowed a truck from Mother Teresa to gather up 11 children of lepers in the slums of Kolkata, bringing them to Udayan for safekeeping and nurturing. James and I arranged a week in February when I was in Kolkata to conduct the shoot. With everything planned I flew to India with my gear bag and great anticipation.

Only to find that James wasn’t responding to my local phone calls. Or emails. Or texts. Fortunately I had saved and printed out some old emails that allowed me to track down a board member at Udayan who also sits on the Kolkata Foundation board (a funding organization). Through Shamlu, the board member, I learned that James had been taken to the hospital for surgery just prior to my arrival. But Shamlu was able to connect me with several staff members at Udayan who knew of the planned shoot but unfortunately did not have my contact information.

So…. it all worked out but here’s a lesson to remember: bring some extra old-fashioned paper with contact information that will help you connect with more than one local person. And when travelling internationally, especially, be able to connect with those people in several ways. I’d switched my cell phone to international service but it took a couple of days for that to activate, so I didn’t have local cell phone service when I first arrived. So after trying James’ phone from the hotel (no luck), I had to fall back on email via the hotel business office (I didn’t have phone numbers for everyone I’d been dealing with in preparing the trip), all of which slowed me down, cutting into the 5-day period I’d set aside for the initial shoot, some hotel-based review of what I’d captured (and gaps I would need to fill), and another day or two for filling in those gaps. 5 days became 1 day – to get it all and get it right (or you’ll probably have to live with big gaps). Another lesson: build in extra time, especially when working with international non-profits, because logistical snags are much more likely to happen when you’re outside your normal environment, and you also have to expect a certain formality and ceremony when you first arrive at an international location. It’s a part of greeting an international guest and making him/her feel comfortable, and in fact it’s wonderful to experience the warm welcomes that people extend when you meet them on their own turf, so to speak. But it does take time, so don’t intentionally cut things too short.


Okay, this was my first trip to Kolkata, India and although I’ve travelled internationally quite a bit, I really had no idea what I would find in a city renowned for slums and poverty – especially as I planned to visit a leper colony or two. I needed to keep things light & portable – basically a kit that I could sling over my shoulder to haul from place-to-place, working as I moved along. Here’s what I decided on:

  • Allen shoulder bag – I use this bag (designed for hunters to carry shotgun shells) because of its easy access and, frankly, because it doesn’t look like a camera bag stuffed with expensive gear.
  • Nikon D300 body with two lenses: 17-35 f/2.8 workhorse and 50 f/1.8 (for stills)
  • Nikon D200 back-up body
  • Nikon SB800 flash unit
  • One foldable lightstand with Wescott shoot-through umbrella
  • Lumiquest III small portable softbox and Lumiquest snoot modifiers
  • Canon T2i body with a Fotodiox lens mount adapter to take the Nikon lenses (for the limited video I planned)
  • Marantz PDM661 digital audio recorder
  • Sennheiser MKE400 mini-shotgun mic (including a shock mount for the T2i, an XLR connector, and a windscreen)
  • Audio Technica AT899 lavalier mic
  • 8 ft XLR cable (to connect either mic to the Marantz recorder)
  • Assorted lens filters, lens cleaners, extra batteries, battery chargers, extra media cards, etc

This was a functional kit, and portable. The only modification I needed was to tie down my lightstand/umbrella to the bag (they kept slipping off) in a way that I could release the ties quickly for use. Would I have enjoyed other gear? Absolutely. My largest concessions were lenses. I left a 70-200 f/2.8 off the list due to size & weight, and a macro lens off because I doubted I’d have enough time to use it enough to warrant carrying the thing around. I didn’t bring a larger shotgun mic because it’s just too bulky and fragile – and because I took it internationally once and was stopped in every single airport security checkpoint for special review. That thing looks too much like a gun barrel.

Next up: The Shoot, The Post, The Results