In Focus

With a career spanning 17 years that began in the shipping department, Mike Nuget, a freelance colorist out of New York who's had the fortune to work on some really extraordinary shows and videos, has, as they say, started at the bottom and is working his way to the top. And on this episode of In Focus by MarketScale, he joins host Josh Brummett to discuss his career trajectory, the pros and cons of going freelance, the stages of the color process, the evolution of camera technology, workflows, how professional coloring can elevate a project, and more.Technically titled as a both a Colorist & Finishing Editor, Nuget remarked, “There's days when I'm doing one role in the morning and another role at night. Then the next day I'm doing both roles all day, and that really keeps me on my toes. And I like it, too, because there's some projects that I fit better for doing (quote/unquote) just onlining. And there are some projects where the client does their own onlining and gives me a final file and I just do the color. So, it's good to be versatile and have the ability to offer the client either or, or both.”

The job market is constantly changing, and the job qualifications that would have been sufficient five or 10 years ago may not necessarily be sufficient today. Many professionals still debate whether or not a degree in video production is necessary to get started in the industry.But is this true today? What does someone need to get their foot in the door with the company of their dreams?In this episode of In Focus, Josh Brummet meets with two of MarketScale's most recent hires in the video production department, Michael Boyer and Alex LeBlanc, to discuss how to get started in video production today.Michael Boyer is MarketScale's live broadcast creative producer, with a degree in Convergence Journalism from The University of Missouri. Meanwhile, video production specialist Alex LeBlanc has a degree in Advertising and another in Electronic Media & Communication, both from Texas Tech University.Both of them believed that, while going to school for video production isn't obligatory, educational institutions offer certain benefits that a do-it-yourself producer wouldn't have. “What you don't get outside of school is the connections you build while attending university,” said LeBlanc.“Every group is kind of a group project, and you can't do anything by yourself,” added Boyer. “Learning from people that were better than me helped me to become better too.”But for those who don't plan on attending college, what's the best way to learn?“You learn by doing things,” said Boyer. By replicating what other people are doing and pushing ideas to their fullest, anyone can get better at their craft. “Even if you fall terribly short, you'll still learn something valuable.”Follow In Focus Every Other Friday!

On this episode of In Focus by MarketScale, host Josh Brummett was joined by David Spector of David Spector Media, a full-service photo and video production company. Committed to providing the best service possible at an affordable price, his company focuses on small businesses, helping them to gain a video presence online, while also working on training videos, and event and seminar coverage for larger companies. Boasting a vast and spectacular portfolio of landscape, portrait, light painting, and abandoned building photography, as MarketScale's Senior Director of Video Production by day and photographer by hobby, Brummett wanted to delve into the reasons why Spector chose his profession. Further, he wanted to know what goes into capturing that perfect shot so that the image tells a story, the three fundamentals to always keep in mind, the art of abandonment photography (Spector's sweet spot), how he transitions from deserted, decaying properties to adding people into the mix, as well as his approaches to photography versus videography.“If you're shooting people, you want to always make sure the eyes are in focus,” Spector advised. “Also, never put somebody dead center. Sometimes you will—like if you're doing headshots or something. But if you're trying to tell a story and do a little more artistic shot, you always want to put them off to the side—that's the rule of thirds. So, if you imagine your frame and there's two horizontal lines and two vertical lines going through it, and you have those cross points—those are where you want to put the main frame of your subject.”

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