Rant

22Aug

A Moment Can Make a Difference

A moment from one person can make all the difference.

Steve was working at the grocery store today. He’s a bagger and he’s always working to keep things tidy. Steve has the best attitude of anyone I’ve ever met. He’s also a special needs guy.

Today, I was feeling a little wistful because it’s Isla’s last day of preschool before Kindergarten, and as I was walking out of the store, Steve jumped in front of me and high-fived me, saying “today is a beautiful day!”. “Yes, Steve it is”, I replied. He liked that. And it put me in a good, maybe more mindful mood.

Then on my drive, I saw an older lady who was sitting on the ground. A friend was with her, but something didn’t seem right. So I turned around and asked if she was ok and if she needed any help, or even a ride home. They were actually ok, and lived a couple houses down, but, like Steve taking care of me, they were super-thrilled somebody stopped to show they care.

And maybe today they’ll be more mindful of others, too. And so on. To infinity and beyond. I like to imagine a human wave of kindness overtaking the frustration and bad feelings we’re all getting exposed to on a macro level.

Micro matters, too. Thanks, Steve.

20Jun

How to Spend Money on Gear Wisely in 2017 (Skip the Camera!)

yellow background

This one’s for my fellow video production nerds.

Smart people realize that cameras have been solved. This might be why RED’s new product is a phone. Not a camera. Cameras are done. They’re great. Today. And semi-affordable. The huge gap between “great” and what the average DP can afford is pretty much gone, and if you’re still selling yourself based on your camera instead of your work, you are way behind the times.

Put simply, the most important thing is your talent in using the gear. The gear alone doesn’t differentiate you, anymore. Pros can Read More »

20Apr

On the Importance of Personal Projects for Creatives

anyls-2

I keep relearning the lesson of how important it is for us creatives to always be working on personal projects. First, they’re fun to do! Second, they let you hone new skills. And third, sometimes they show clients a side of you that they didn’t know about. This can pay huge dividends.

For instance, about a year and a half ago I was in New York more than I wasn’t. I live and work in both LA and New York, and I’m not sure why LA wasn’t clicking for me at that time, but I was grateful that New York was. New York was keeping Read More »

23Apr

Storytelling.

9989262913_475dc75c28_z

The longer I direct films and videos, the more I see that one factor, above all, helps make or break a project. It’s not the camera (although that matters), It’s not necessarily even the actors or director you hire (although those certainly matter, too). It is story.

If a project has a crappy story, it will fail- no matter how much money you have, no matter how much star power you throw at it, and certainly no matter which state-of-the-art camera you use.

And it’s my job to at least do everything I can to help my clients tell their stories.

It still surprises me when a potential client tells me they don’t want our input on the story they’re telling. I deal with story everyday. It is my lingua franca (that means it’s my trade language, I love Wikipedia).

My job is to learn everything I can about a client and their business, and it’s my job to then take their story and do what’s possible to make it a great story- one that appeals to their audience and incites them to action.

Sometimes a client comes to us with an idea almost-fully realized, and just needs a bit of input. That’s fine. Often, we write the whole thing. That’s fine, too.

But I hate it when a possible client believes they have everything nailed down, and won’t take my input at all. That’s the potential client who will freak out during production or editing, when it’s usually far too late to change direction.

I don’t have time for that silliness.

And so, today… finally… I am drawing a line in the sand. My job is to be your director. And my company’s job is to be your video production company. If a potential client approaches us from now on, and does not want us to help them make their project fantastic- including getting our input on their concept and script to some degree- I will not work with them.


Patrick is the founder of Los Angeles and New York City based PatrickOrtman, Inc., a creative video agency that has won a ton of ADDY and Telly awards, worked with 9 Fortune 500s (and tons of startups), and been featured in The New York Times, Washington Post, Toronto Star, USA Today, and many other print and online publications in the advertising and other industries.

14Mar

The Skinny on Camera Formats: Raw, ProRes, H264, and Why It Matters for Your Commercial or Video

Why should you, as a business owner, chief marketing officer, or advertising agency creative care about what format your TV commercial, promotional video, or company/corporate video is shot on? I mean, video’s video, right?

Nope.

You’ll find a few flavors of video formats out there that video production companies and video agencies use to capture the footage for your videos. From highest to lowest quality, they are:

  • Raw
  • ProRes with a log or flat profile
  • H264 (what most DSLRs use)

Among these three types of footage, there’s a lot of sub-types. But that’s for another day. Let’s talk about when and why you’d choose any of these options, starting with the worst choice.

The worst choice of video format is H264, which is used by most DSLRs.

H264 is a very heavily-compressed format. This means you cannot push the image in post-production very much, without the image falling apart. Why is this bad? Because a vital part of making a commercial or video look like it’s a huge-budgeted national-quality spot is the magic we add in post-production.  The color-grading. The finishing. When you try to really dive in with H264 video and polish it, you can only do so much. And that sucks.

A step up is ProRes with a log profile. ProRes is a higher-quality video format that a lot of professional cameras and recording devices can capture in, today. It’s a professional-level format. You can do a lot with this footage, because it’s not so heavily compressed like H264. And if it’s captured in log format (an article for another day), you get reasonable flexibility in post-production. A lot of your local news, and some national spots are done in ProRes.

The best quality is Raw. There’s lots of types of Raw, but for today we’ll talk about the kind of Raw that the RED Digital Cinema cameras and Arri Alexa cameras can deliver. These are the platinum standard in the production world, and these two cameras are responsible for most of the national TV commercials, TV shows, and feature films that you see. Professionals choose these cameras and Raw format when they can, because it means you get tremendous flexibility in post-production to polish the look of your video.

There’s a time and place for every tool in the toolbox. Wanna guess which one we use the most? Raw, of course.

 

22Jan

To Thine Own Self, Be True. Mission Statement As Business Tool.

baddie

 

We create exceptional films and videos for clients who “get it”.
– Mission Statement, PatrickOrtman, Inc.

In life as well as business, it’s vitally important to know who you are, and what you want. Or you’ll find yourself completely off-track, and miserable. That’s right- we all need that old business school mainstay, the mission statement.  I resisted the mission statement at first, but now that we have one, I find myself referring to it almost daily.

For instance, recently we got a video lead from a New York City advertising agency, for a tech startup client. I was flattered they’d found us, and wanted to work with the agency. There was one thing- the budget they’d proposed was a bit low. Still, wanting to work with the agency, I entertained the idea of the project, and talked with them about it. Things felt very positive, initially.

Then, more red flags went up- after spending some time talking with the agency, they told me the client wanted an even smaller budget. And then told me they were talking to other video companies, and wanted to pick my brain and “see what you can offer” before making a decision. Meaning, they wanted to play us off other companies to beat us up on price, and they wanted us to do spec work- to work up creative concepts for the project, for free.

Spec work is evil. They wanted our ideas- our creativity, which of course is what we sell- for nothing, and they wanted us to do the actual project for even less than the already pitiful budget they’d proposed.

In the past, I may have tried to make it work. I know a lot of people in the video production industry bow down to demands like this all the time. But, I’ve been there. I know that when a project starts with the other guy kicking you, it won’t end well, either.

My company creates exceptional films and videos for clients who “get it”. We don’t work for free, we don’t compete on price, and we don’t suffer clients who are cheap bastards, shitheads, or idiots. We’re among the best in the world at what we do, and I make no apologies for saying that- it’s the truth. This particular client clearly did not “get it”, and therefore failed our “mission statement” test.

I think the agency was rather surprised, and I know we may never work together now. But that’s OK- working under their requirements would mean they’d always see us as “the cheap guys” and “the desperate guys”, and every future project would be a terrible experience. Life’s too short. Pass!

Learning to say no and pass on bad projects is as important as landing the good ones. For me, my company’s heard-earned mission statement has proved vital in separating the good from the bad. Deciding to work or not with a client is a complicated dance. Having a solid sense of who you are and what you’re about is a fantastic tool to help you concentrate your efforts on the good ones. So, thanks business school. Turns out you weren’t useless after all.

 

15Oct

Why We Sold Our Canon C-Series Cameras and Bought Another RED (dragon)

There’s a really good blog post by Dave Wallace on why he sold his RED and bought a C100. Interestingly, I’ve gone the complete opposite way, selling our Canon and buying another RED. You can read Dave’s article here.

Back? Great!

Our story… back in 2007/2008, we took delivery of one of the very first RED One cameras. Up until that time, I’d been shooting with a variety of cameras, starting with the Panasonic DVX-100 and getting to the HVX-200. We used a bunch of frankenstein-like 35mm adapters with these cameras, because we were always about quality- and those cameras’ tiny sensors made everything look quite “video-y” without the 35mm adapters. When Jim Jannard introduced RED, I was sold. It was groundbreaking, and although the production process wouldn’t be as easy with the RED as with the Panasonic DVX-200, the huge jump in quality was worth it.

Unlike Dave, we didn’t start out on DSLRs, and so our tripods, steadicam, jib, and so forth were all “RED-ready”.  And we’d always done things film-style, with separate audio and camera people. After all, I’m from Hollywood.

Our RED One paid for itself in only two jobs. And we started getting better quality jobs, too- this is when my company got to jump up from “corporate video only” to “and TV commercials”. We did a series of TV commercials that won awards for their creativity as well as overall quality, all shot on RED.

But then, RED came out with Scarlet-X. I got one. I didn’t like it. It was loud, and its image was no better than the RED One MX. In some ways, it was worse (frame rates, no 4.5K). Realizing that the RED One was obsolete no matter what, we sold our RED and looked at replacements.

For awhile, we just rented Arri Alexas or REDs when we needed the highest quality images. But our in-house go-to camera became the C100 with Atomos Ninja2 recorder. And it was fine, for awhile- certainly the workflow was easier.

But the images… don’t stack up. Maybe for a lot of jobs, it doesn’t matter. But to me, given our mission statement… it mattered. I’m not saying you cannot create fantastic images on the Canon. We certainly did that. I’m super proud of a few projects in particular, where we really pushed the tech to its limits. But the flexibility in post (despite the additional work needed) and the flat-out advantages to more resolution just weren’t there with Canon (even Philip Bloom shoots in 4K for corporate interviews- these advantages matter. By the way, Philip sold his own C300 recently).

What I loved about the Canon: workflow, an ‘all-in-one’ camera out of the box, and the ability to shoot in less light (although I never used that).

And the Canon made me lazy. It was easy to “sort of” get the shot without taking the time to think things through or to bother really lighting things.

What’s worst is, it made me and my team feel like plain old corporate videographers. Not filmmakers. After all, the C100 is meant for wedding videographers. And clients were not as impressed and therefore didn’t always treat us or the project with the excitement we saw when we’d bring in a RED or Alexa. Perception matters.

As does Raw. One day, I got my hands on a Blackmagic Pocket Cinema camera, and went out on the streets of New York City to play with it at night. I got home, and fired up my Mac Pro, and immediately was amazed at how much I could tweak the images more than the Canon imagery. I’d forgotten how much of an advantage shooting in Raw was. Now, the Blackmagic isn’t going to replace anyone’s main camera. But it did make me think, this is something I’ve been desperately missing in my year without RED.

To be fair, unlike a lot of other shops I’ve always been deep into the geeky side of things in post- we’re a full-on VFX house, and we have two DaVinci stations, here, not to mention ProTools and all the other expensive software and hardware that you’d normally find in companies 5 times our size. Quality matters, and we only go after projects where we can deliver quality to clients who appreciate that. We’re basically a mini-feature film studio, so we have always had the tools and pipeline to make it happen. But that’s us- and we’re not every production studio. If you’re not an excellent colorist and know how to run the big toys, RED probably isn’t the camera system for you.

Meanwhile, RED came out with its new Dragon sensor. It looks fantastic, and the new cameras solved my beefs with the first batches of Scarlets and Epics.

So, I bought one.

Is it the be-all-end-all camera? No. No camera is. But for our shop, which mainly does web and TV commercials, along with story-driven corporate films and narrative projects, it’s ideal for 90% of the jobs we do. If we did mostly docs, we’d go another way (such as C300 or even Sony- which we rent when doing documentary-style shoots).

In the end, choosing a camera is a very specific and unique process for everyone. What worked for Dave didn’t work for us- it actually worked against us. Our year without RED really helped me to understand who we are as a shop, and what makes us different than other production companies.

And that’s a good thing.

 

 

22Aug

Camera News: The RED Dragon Breathes Fire @ PatrickOrtman, Inc.

 

Red-Epic

 

I (Patrick) was an early adopter with RED. I bought my first RED camera in 2007- one of the first RED ONE cameras available, and of course RED’s groundbreaking cameras went on to film ‘The Social Network’, ‘Pirates of the Caribbean’,  ‘The Girl With The Dragon Tattoo’, ‘The Hobbit’, and so forth. I loved giving my clients the high-end services we could with RED. And I loved shooting our award-winning film ‘Unlaced’ with it.

Then, we had  period of time where it didn’t make sense for us to own an in-house RED. We rented them, though, for clients who wanted the ultra-high-res imagery. I missed RED’s technology on the jobs where the clients chose other camera systems, sometimes- the RED’s ability to shoot Raw, 4K film-style video is something that really helps on a lot of jobs. Even so, it wasn’t the best choice for every job, and it was VERY expensive, so we invested in other camera systems.

Now, RED’s come out with DRAGON, their latest-generation sensor. This thing is amazing! It’s light-years ahead of our old RED MX camera. It gave me one of those ‘oh, my!’ moments, when you realize that the technology in your hot little hands can create images that you’d only dreamed of until then.

And our business has grown, to where we’re working with more of the higher-end advertising agencies and clients on a regular basis. You know, the kinds of clients who want ‘the best’. Disclaimer: the RED Dragon’s not ‘the best’ for every job. But it’s ‘the best’ for a lot of them, if you have the budget in your project to support it.

So, I decided to get one for ourselves, as our in-house high-end cinema camera system. This way, we get the advantage of having it all the time, which lets my team master it (like we did with the R1) in ways you just cannot if you rent. And, we can now offer this level of imagery to clients who otherwise couldn’t afford it. We’ll still do a lot of jobs on our other, more affordable camera systems. But this lets us compete even more strongly with the ‘big guys’.

I’m really excited!

 

28Mar

A New Telly Award for “Meet Biff”

Photo by SoulPhoto (http://soul-photo.com)

Photo by SoulPhoto

Guess what? We won another award for our TV commercial “Meet Biff”, for Realtor Kevin Paffrath! It’s awesome having to make yet more space in the old trophy case for yet another metallic award for our video-making prowess. Yay us! We’re soooo brilliant. And modest, of course.

Thanks again to the cast and our lovely crew. Love ya’ll. Mean it!

 

11Mar

Purpose and Values: 2014 Edition (Part Two)

The power of purpose

And now, after a couple months’ worth of crazy work deadlines and 18-hour days, here is our Part Two. Finally! I can’t complain, we love doing what we do, and the realities are that sometimes clients have immutable deadlines. It’s been a nice week so far, enjoying a bit of downtime at SXSW while we spin up for new projects.

Our Purpose and Values:

Our corporate side of things exists to do great work for good clients that fulfills and exceeds their expectations and baselines, while making a fair profit.

Great Work
We’re not interested in doing crappy work. We get calls all the time from clients who want us to cut corners. We will not. Everything we do reflects upon us, and short-term gain for putting out garbage work never ends up well (for the client, or for us). What we love is making films that tell stories which educate, entertain, and inspire your audience to action. Every project we do has to be done well.

Good Clients
We choose our clients carefully, as the kind of work we do tends to reflect upon us. We don’t need to always agree with everything our clients say, but we certainly will not work with a client who comes across as ‘evil’. What this means is, we will do work for clients who may not be perfectly aligned with our values, but who believe in what they do, and want to make this world a better place. We’ve worked with clients from a multitude of religious, political, and social differences. But if all a company is about is greed, or screwing people over as part of their business plan, or hurting others, then no thank you.

Fulfilling and Exceeding Expectations
Not every project we do has to win an ADDY. But everything we do needs to meet our clients’ needs and beyond. We exist to wow our clients and to give them the tools to help them further their causes.

A Fair Profit
We charge a fair price. We don’t gouge our clients, but we demand and deserve a profit from every project we do that isn’t pro-bono. Our prices are quite a good value compared to other video agencies of similar stature, but we don’t respond well to potential clients who try to lowball us or compare apples to oranges: we are a world-class video agency, not a couple of kids with DSLRs right out of film school. We take on projects that help our clients grow their businesses in a major way. That requires mutual respect, and part of that is charging a fair price for the work.

 

 

 

 

© Copyright 2017. All Rights Reserved PatrickOrtman, Inc.