Spokes - The red Bicycle Media Podcast

Episode LinkPreviewMoving is hard. It’s even harder if you are in the film business, where new connections are to be made in a possibly unfamiliar area. We talk with someone who recently moved from Cleveland to Austin. Ryan Girard is a director and editor, who has worked on projects for companies like the Cleveland Cavaliers and Vitamix. He talks with us today about making connections when moving to a new place, adapting to the new location, and dealing with one of the worst snowstorms in Texas history, among others.Talking Points-How the Austin film scene compares to Cleveland and how Ryan found connections during his time there-How he adapted from the Midwest to the heart of Texas-Making the shift from directing to editing during the Pandemic-Staying creative during the Pandemic-The value of having on-set editors-Ryan’s interest in filming cars-Promoting your work through reels-How his interest in music connects with his filmmaking skillsSocial MediaIG: ryanfgirardLink: ryanfgirard.com

Episode LinkThe Session Documentary: https://www.youtube.com/watch?v=araUb4AJzFM&t=53sThe Session: Behind the Scenes: https://youtube.com/playlist?list=PLtOSva8OE_miCWePwMPjZmm05u3WbNRNDPreviewWith over 45,000 views on YouTube and being accepted into a couple of film festivals, we figured that it would be a great time to debrief filming “The Session.” Thanks to a worldwide pandemic, we were unable to walk down the red carpet at the Cleveland International Film Festival and watch it on the big screen. However, we are able to share it worldwide through streaming festivals and YouTube. In this episode, we bring back directors Chris Webb and Conrad “Abel” Miles to talk about filming “The Session,” as well as reminiscing about what happened on-set. After the show is over, watch our Behind The Scenes mini-series to go even further in-depth of our production.Talking Points-The feedback we got from the film, as well as what we’re doing next to further expand on the story-What’s next for our directors-Staying creative in a very competitive industry-Favorite memories on-set-What was left on the cutting room floor?-What additional footage will be released?Social MediaChris: Website-IG: chriswebbspeaks-Facebook: Chris Webb-Twitter: @chriswebbspeaksConrad-IG: imxabel-Facebook: Conrad Abel Miles-YouTube: AbelMediaStudiosThe Session-Facebook: The Session-IG: thesessioncle

Episode LinkPreviewOne of our favorite podcasts to listen to (besides ours, of course) is the Wandering DP Podcast, hosted by cinematographer Patrick O’Sullivan. In this episode, it was an honor having Patrick on our show to talk about filmmaking and cinematography. We also go into the making of his podcast, as well as talking about his new online course about commercial cinematography. Recently, Patrick was the director of photography for the Australian romantic drama film, I Met a Girl, and we talk about his experience filming that. After the show is over, check out some Wandering DP episodes using the links below.Talking Points-Going from an aspiring rugby player to a cinematographer-Growing pains of his cinematography career-Learning how to work with others on your crew, as well as developing a system on-set-Patrick’s biggest “aha” moment-The cinematographer-director connection on-set-Patrick’s experience working on the Australian film, “I Met a Girl,” and what he learned from working on the film (including long-term effects)-Deciding what you want out of your filming career-Behind the scenes of the Wandering DP Podcast-Filmmaking in a world where anyone can do it-Patrick’s new online course about commercial cinematographySocial MediaIG: wanderingdpPodcast Link: wanderingdp.comLink: patrickosullivandp.comCommercial Cinematography: The Foundation

Episode PagePreviewMany directors and DPs start off as production assistants in the film industry. Today’s guest learned to become a DP on the job. Starting off as a history major with a photography position at Quicken Loans, Ray Rushing went through the motions to become a freelance cinematographer. In this episode, he shares his evolution as a DP, as well as developing a leadership aspect to the job.Talking Points-Ray’s transition from history major to cinematographer-His learning curve going from filming for Quicken Loans to going freelance-“Morphing” your cinematic style to the project and the optimal project to doing so-The team aspect of filmmaking and adjusting to the number of crew members per project-Going through projects during COVID-Evolving as a DP and learning why lighting matters-What he brings on-set-How having a good reel doesn’t necessarily translate to jobs-Marketing Yourself-Hobbies outside filmmakingSocial Media-IG: rayrushing-Twitter: @rayrushing-Link: rayrushing.tv

Episode LinkPreviewHow has working on-set changed during the pandemic? That’s just one of the questions we answer this week. We talk with Cleveland-based cinematographer Nicholas Weiss about that, as well as the change of messages commercials want to convey and how it affects DPs. We also go into what smaller film cities, like Cleveland, can do to thrive in the industry, as well as what the future of filming commercials can look like in 2021.Talking Points-COVID Mindset of commercials/marketing-Inspiration during quarantine-The flexibility of sets during the pandemic-Working with small crews-Optimizing relationships with others on-set (i.e. Director, Gaffer, etc.)-Establishing community outside of bigger markets like NY, LA, Chicago, Atlanta, etc.-Why we need more people to do one job rather than do multiple jobs on crew-Outlook for 2021-Self-improvement-Trusting your crew-Formula for success-Technical aspectsMonitoring color on-setThe importance of efficiency on-set-Pros and cons of having an agent as a DPSocial MediaIG: nicholasweissdpLink: nicholasweissdp.comAlso On This EpisodeThe Session: 2020 DC Shorts International Film Festival

Episode LinkThe Session: 2020 DC Shorts International Film FestivalPreviewToday’s guest has a résumé that includes being behind the camera for shows like GLOW, Ramy, and Love Life. However, it’s his humble beginnings in the industry, as well as his drive to tell the best stories, which have led him to where he is today. In this episode, we talk with cinematographer Adrian Peng Correia about how his career in the business, what he’s learned through it, and one of the toughest times on-set emotionally. This is an episode you don’t want to miss.Talking Points-Adrian working on his first million-dollar feature and the emotional first night he endured-The moment when he knew he made it in filmmaking-Humility and why everyone should be a PA at least once in their career-Finding crew you want to work with-How a dinner conversation and strong relationships led to DP-ing a major Netflix series-Skill development and acquiring talents-Getting to the “next level” and staying competitive-Director/DP Relationship-Working with no more than a two-camera setup-Differences of looks between shows he’s worked on-Future projects-Technical DP infoSocial MediaIG: adrianpengcorreiaLink: adrianpengcorreia.comIMDb: Adrian Peng Correia

Episode LinkPreviewCaleb Crossen is a Cleveland-based freelance cinematographer. He has been behind the camera for numerous clients, including Reebok, Progressive Insurance, and the Cleveland Cavaliers. In this episode, he joins James for a conversation between fellow DPs. They talk about things like the importance of lens choice, interactions with directors and producers, and movies that drove them to work in film.Talking Points-Caleb’s start in the industry-Gathering a vision from experience-The importance of lens choice-Interactions with the director and producer-Process for monitoring exposure-Staying consistent in getting a good frame-Standing out as a DP-Measuring up to the “National” standard-The movies that shaped both Caleb and James’ interest in film-Process of breaking down frames from other films/projectsSocial MediaIG: calebcrossendpLink: calebcrossen.com

Episode LinkPreviewIf you would have asked today’s guest if he would be behind the camera and directing very impactful films years ago, he would have laughed. Specializing in documentaries and focusing on the heroes that are the subjects of them, Nick Cavalier’s career has led him to film festivals like Cleveland and SXSW, numerous awards, and even a Vimeo Staff Pick. Today, he talks about his progress, inspirations, and challenges he has endured getting to where he is. We conclude Director’s Month 2020 with Nick Cavalier.Talking Points-How he turned to art as an escape and how that led to filmmaking-Finding yourself through filmmaking-His journey from struggling during the Recession to success in LA-Filming commercial compared to narrative-Why documentaries are seen as the “ugly redheaded stepchild” of film-The type of director Nick is (crew-centered or talent-centered)-Filming with smaller crews compared to bigger ones-Where Nick derives inspiration-Executing ideas-His views on spec work-What the next few months hold for filmmakers-How Nick has been handling the COVID-19 Crisis-What stories he likes telling the mostSocial MediaFacebook: Nick Cavalier - DirectorIG: nickcavalierTwitter: @nickcavalierLink: nickcavalier.comIMDb: Nick Cavalier

Episode LinkPreviewAn important aspect of filmmaking is developing your characters. How they can relate to anyone, whether people should like them or not, and how they interact with other characters and intertwine in the story are just some of the factors. In this episode, our guest recently had an experience incorporating all of these points. His film, The Last Christmas Party, tells the story of a group of college friends in troubled romances as they party one last time before Winter Break. As we near the end of Director’s Month, we welcome director and fellow Pinoy (slang for Filipino), Julian C. Santos.Talking Points-Julian’s film journey from San Francisco to NYU-Character development and implementing them in his writing-How he can relate to his characters-Building a team for a film-Directing suited to a specific genre-Perceiving characters-The importance of table reads/rehearsals-Benefits of reshoots and pickups with a low budget-Gaining constructive feedback from your circle-Telling a great story while staying original-Going in-depth on making his micro-budget movie, The Last Christmas Party -How long production days were -Dailies -Post-production process -Getting into film festivals -Future projects and the hope to film Asian-centered storiesSocial MediaJulian-Facebook: City Bear Media-IG: technicolor_julian-IMDb: Julian C. Santos-Link: juliancsantos.comThe Last Christmas Party-Link: thelastchristmasparty.com

Episode PageWatch Moondance on Prime VideoPreviewIt’s hard enough to direct a musical, but imagine writing it and composing the music after thinking it was not going to be one in the first place. That is what today’s guest had to go through. Moondance director Cooper Flannigan is our guest on this episode of Spokes, and he goes into his process of creating this film, as well as some of the challenges including distribution and changing release plans due to the Coronavirus.Moondance is now on Amazon Prime Video.Talking Points-Cooper’s path to filmmaking-Adjusting to the situation on-set-Why directing and why it wasn’t his initial career-How Moondance wasn’t originally a musical and how it turned into one-The process of writing Moondance-Assembling a team to create a film-Funding the project-The Pre-Production Process-The imperfect on-set situations-Planning post-production-Making the musical numbers-Distribution-The biggest lesson learned from the productionSocial MediaCooper-Facebook: Squatch Film-IG: cooperflannigan, squatchfilm-IMDb: Cooper Flannigan-Link: Squatch FilmMoondance-IMDb-Facebook: Moondance Movie

Episode LinkPreviewThey say in show business that you should never work with kids or animals. Today’s guest says otherwise. Well, at least in terms of working with kids. He’s Southwest Ohio-based director, Zach Daulton, and he joins us to talk about specializing in directing children. He’s directed commercials and short films that have made them the main focus and won numerous awards, including first place in the 2019 iFootage Creative Video Competition for “Lost in Static,” and Best Drama in 2019’s My RODE Reel competition for “Looking Back.” He brings his expertise in this week’s episode as part of Director’s Month.Talking Points-Why Zach works with children on-set-The advantage of hiring a director who specifically works with kids-If having kids helps in directing them-The process of a project: from casting to on-set work-Forming a bond with your child actor-Building rapport between the child and adult talent-Ideal conditions for kids on-set and the client’s role-The importance of giving positive reinforcement to the child in-between takes-Making the kid a part of the process and adding incentives along the way-Working with multiple children and of various age groups-Dealing with difficult children-Working with teenagers-Commercial v. Narrative and any future projects lined upSocial MediaFacebook: Zach Daulton - FilmmakerTwitter: @zachdaultonIG: Zach DaultonLink: zachdaulton.comYouTube: Zach DaultonVimeo: Zach Daulton

Episode LinkPreviewIt’s one thing to make a feature film, but how about having to re-film the majority of scenes months later? That was the situation director Tyler Savino had to go through. In the first installment of Spokes’ Director’s Month, we interview the director of the upcoming film, The Cran, and talk about his inspirations, his process of coming up with the film, and his production company, Bucketnaut. Everything you want to know about writing, producing, and directing a feature is in this interview.Talking Points-What inspires Tyler to create films-His process in writing scripts-Talent Recruitment-Funding a Feature-Advantages of having a great producer on-board-Crew Recruitment-Post-Production Process-Philosophy on Art Direction-Non-Film Inspirations-Storyboarding-His process of being an efficient and organized director-Making “The Cran” and lessons learned from it-What kind of director Tyler considers himself to be-Information about his production company, BucketnautSocial MediaFacebook: Tyler Savino, The CranIG: savinothesavino, bucketnautofficialLink: BucketnautIMDb: Tyler Savino

Episode LinkPreviewOn Spokes, we want to inform our audience and teach them about the different areas of filmmaking. Today, we go into the Grip and Electric Department. For that, we talk with grip and co-owner of Ohio Cinemotion, Patrick Ryan. Patrick has worked on many films and TV shows, including The Fate of the Furious, White Boy Rick, True Detective, and the upcoming remake of West Side Story. We talk about his experiences on-set, as well as what it takes to become a grip, the technical side of things, and information about his camera motion company.Talking Points-How Patrick spent his time in quarantine and how it relates to his work as a grip-Why exercise can be essential for a grip-How Patrick got his start in the industry and how he knew that he would want to work in the grip department-Commercial or Narrative-The team aspect of filmmaking-What’s a typical day on-set for a grip: working with directors, DPs, set-ups, etc.-The impact of virtual sets in the film industry (i.e. The Mandalorian)-Some of Patrick’s favorite filming experiences-The differences between smaller and larger sets-What Patrick has learned from being on-set-Information about his camera motion company, Ohio CinemotionSocial MediaFacebook: Ohio CinemotionIG: ohiocinemotionLink: ohiocinemotion.comIMDb: Patrick James Ryan

PreviewWhether it’s on a commercial or a narrative, a set always needs good producers to help get the job done. Especially in a time of crisis, a producer that can help make sets compliant to COVID measures is needed more than ever. We have been lucky to work with today’s guest in recent projects that have dealt with these times. His name is Chase Crawford, and we talk about his journey in the industry, the important skillsets that a producer should have, and balancing work life with family.Talking Points-How making fake Taco Bell commercials jump-started his career-How he immersed himself into the producing realm-Balancing career and family and the biggest step that contributes to that-The time where Chase knew that producing was a viable career-How his skills have developed since becoming a producer-Why producing may not be in his long-term plans-Forming project crews with no egos involved-A little information about his production company, Four by Three Productions-How he’s bringing in more clients and projects-How to execute an agency’s plan in a project-How to execute an exit strategy for undesirable clients-His COVID protocol and the state of the industry during this pandemic-What skillset he thinks that makes a great producerSocial MediaFacebook: Chase Crawford, Four by Three ProductionsIG: chsecrwfrd, fourbythreeTwitter: @chsecrwfrdIMDb: Chase Crawford

Show PagePreviewMost of us know the skills to become a filmmaker, but only a few of us know what vision we have for our career. In this episode of Spokes, James sits down with one of his long-time friends, Las Vegas-based filmmaker Randy Panado. They talk about how personal growth methods can apply to anyone who is on the journey to becoming a filmmaker. We go into visualizing what kind of career they want to have, establishing a mindset in everything they do, and learning along the way. This episode breaks away from the traditional on-set and technology talk.Talking Points-How Randy got his start in filmmaking-What advice he gives to people starting off in filmmaking-Crafting your vision of your life-Journey-Oriented v. Goal-Oriented-Finding Balance in your personal life-His definition of success-How to set your blueprint in achieving your vision-How to manage your “human resources” side-Handling not being accepted for a film jobSocial MediaWebsite: randypanado.comIG: randypanado

Show LinkPreviewModel. Host. Actor. Stunt Performer. If it’s a job in the entertainment business, she has probably done it. As this crisis has halted productions and limited opportunities to everyone in the film and entertainment industry, our guest in this episode has found ways to market herself. Needless to say that it has paid dividends. Starting out as a journalist, Jami Kinton has continuously added to her repertoire of talents, including a recent entry into the world of Tik-Tok. Find out about how she began her journey through the entertainment world and hear what she thinks will happen post-Coronavirus in Episode 16 of Spokes.Talking Points-How she got her start coming from journalism to working at Radio Disney-How she managed to receive opportunities being a “big fish in a small pond”-Why being on social media doesn’t have to be a negative experience-How she got into stunt work and the connections she made through it-Which of her many talents/jobs she prefers-Why she didn’t initially create a Tik-Tok account for the money and sponsorships-How she has quarantined during this time of crisis and how it relates to creating Tik-Toks-Her view of the future in the entertainment industry-The making of her Tik-ToksSocial MediaWebsite: jamikinton.comCleveland Audition Taping (Owned by Kinton): clevelandauditiontaping.comIG: jamikintonTik-Tok: @jamikinton

Show LinkPreviewIn Part Two of our conversation with our Film Crew panel, we go into what the future holds in terms of filming in Cleveland, as well as on-set environments, overall. We also go into learning on-set, expectations by senior crew members, and networking with other crew members (or lack thereof). With week 10 of the Coronavirus crisis approaching, we talk about what our crew has been up to during this trying time.Panel-Ryan Forte (Local 600, Loader on “Cherry”)-Eric Martin (Gaffer, Electrician on “Cherry”)-Thomas Matheis (Camera Department, Local 600, video assist on “Native Son” and “Escape Plan: The Extractors”)-Evan Prunty (Black Valve co-owner, video assist on “Cherry”)-Hunter Prunty (Black Valve co-owner, utility sound on “The Marksman” and “Untitled Fred Hampton Project”)Talking Points-Future of Feature Films in Cleveland-Big Productions Hiring Local-Why Cleveland Over Other Locations for Filming-Learning On Location-Expectations On-Set-Networking On-Set-What is one of the more valuable things each member has learned on-set?-Is it worth going to Film School to be on set?-What everyone has been up to since the Coronavirus crisis started-When will crews go back to work and what precautions will be taken?Social Media-Ryan Forte (IG: fortenox)-Eric Martin (IG: ericedwinmartin)-Thomas Matheis (IG: thomas_matheis)-Black Valve (IG: blackvalve)-Evan Prunty (IG: evanprunty)-Hunter Prunty (IG: hunterprunty)

Show LinkPreviewWe change things up during this crisis, so we decided to present our first roundtable episodes, discussing life on-set with local union crew members. In Part One, we talk about their experiences on-set and how their positions contribute to the film as a whole. We go into the pressures of their jobs and how they connect with everyone involved.Panel-Ryan Forte (Local 600, Loader on “Cherry”)-Eric Martin (Gaffer, Electrician on “Cherry”)-Thomas Matheis (Camera Department, Local 600, video assist on “Native Son” and “Escape Plan: The Extractors”)-Evan Prunty (Black Valve co-owner, video assist on “Cherry”)-Hunter Prunty (Black Valve co-owner, utility sound on “The Marksman” and “Untitled Fred Hampton Project”)Social Media-Ryan Forte (IG: fortenox)-Eric Martin (IG: ericedwinmartin)-Thomas Matheis (IG: thomas_matheis)-Black Valve (IG: blackvalve)-Evan Prunty (IG: evanprunty)-Hunter Prunty (IG: hunterprunty)

Show LinkPreviewEveryone sees near the top of the credits on a TV show or a movie: Executive Producer. Producer. Line Producer. Many people don’t know the difference between producer roles, but each has its roles. In this episode, we bring in producer James Waters, who will clarify those roles, as well as telling us his journey through the ranks. He will talk about the lessons he learned, as well as some tips that can help anyone who wants to become a producer. We end our conversation by discussing his role in creating the Canton Film Fest and the future of it amid the COVID-19 crisis.Talking Points-How he went from majoring in sports medicine and business management to becoming a producer-Why he wanted to become a producer and what he has learned-Basics of being a producer and the key to learning what a producer should do-Differences between producer roles (i.e., line producer, executive producer, creative producer, etc.)-Commercial work vs. narrative-How you can burn yourself out from producing-When and why it is worth hiring a producer-Why smaller crews can be better-The importance of producer relationships-The future of content after COVID-19-What James has been up to since the Stay-at-Home orders began-James’ role in the Canton Film FestSocial Media-Canton Film Festival Site-Email: james@cantonfilm.com

Show LinkPreviewYou might have heard music form today’s guest without knowing it! He’s written songs that received placement on ESPN, HBO, CBS, and even with the WWE. What you may not know is that he’s a Cleveland native who also has a day job. We first met Chris B. Harris filming a music video for his alter ego, DJ $crilla. His talent and personality have kept us in-touch a few years later. Now, he is a guest on Spokes. We go into how gigs as a DJ led him to become the hip-hop artist he is today. We also talk about how his day job as the External Affairs Manager for the Cuyahoga County Medical Examiner’s Office has influenced his work in the recording studio. Finally, we go into how he got into music licensing, as well as his experiences on-set of music videos.Featured Song: “Watch Me.” Recorded under one of Chris’ alter-egos, Hill HarrisTalking Points-Beginnings in music; from DJing to now-How he got involved in music licensing-Process of licensing music, from song creation to licensing by client-What filmmakers should know about licensing music-Future of production music business-Experience creating music videos-How he’s dealing with the current situationSocial Media-Official Website-Hill Harris Official Website-IG: djscrillaAlso Mentioned-Jim Stewart Recording

Show LinkPreviewSetting can be just as, or more, important than the characters in a work. whether it is in film, TV, or theatre, the construction and detail of sets can almost make or break a production. In this episode, we have our good friend, Ben Needham, talk about the importance of set design. Ben runs Digital Squirrel Studio, a full-service design studio in Cleveland, Ohio, and has worked on numerous productions. Those range from theatre to motion pictures. He even helped us out on some of our projects, whether it was a bathroom set his team built for an upcoming horror film, to visual graphics for a past 48 Hour Film Project. He talks about how he uses virtual reality in visualizing his sets, as well as his involvement in the Academy for the Performing Arts and Shadow of the Run.Talking Points-Ben’s background and the origins of Digital Squirrel Studio-Using 3D rendering to create sets and what Ben is using to supplement that-How he contributes to film and TV sets without having to be on-set-Using more advanced technologies, such as digital sets and projection mapping, and if they would replace practical sets in the future-His involvement with the Academy for the Performing Arts-His passion for being involved in the immersive theater experience, including being a part of the Shadow of the Run team-The fiscal feasibility of immersive theatreSocial MediaWebsiteIG: digitalsquirrelstudioFacebook: Digital Squirrel StudioTwitter: @DigitalSquirrelStudiShadow of the Run-Website-IG: shadowoftherun-Facebook: Shadow of the Run-Twitter: @shadowoftherunAcademy for the Performing Arts-Website-IG: academyfortheperformingarts-Facebook: Academy for the Performing Arts-Twitter: @AcademyPerArts

IMDb: Curren SheldonPreviewWe believe that documentary films are growing, and not just because we filmed one last year! To go more in-depth on the process of filming and distribution, we brought in award-winning documentary filmmaker, Curren Sheldon. While starting off as a travel writer, Curren quickly rose to become one of a few filmmakers in Appalachia. Along with his wife, director of both documentaries Elaine McMillion Sheldon, he has explored many topics within his community, with the Opioid Crisis being discussed in two Netflix documentaries, Recovery Boys and Heroin(e). Along with discussing the process from pre-production to distribution, we also talk about Curren’s experiences attending film festivals and stepping on the red carpet at Hollywood’s biggest night, The Oscars.Talking Points-How he went from travel writer to award-winning filmmaker-The process of filming the documentaries Heroin(e) and Recovery Boys-Scheduling When To Film-One-or Two-Camera Setup-Use of Lights?-Anticipating Pressing “Record”-Any Other Work During Production?-Involvement Other Than Being Behind The Camera-How Netflix got involved in the distribution of the two films-Film Festival Submission Process-Journey To The Oscars-What Was Next?Social Media: Official Website

IMDb: Jeffrey HagermanPreviewIt’s very likely that you have seen shows, movies, and commercials that this episode’s guest has been involved in. Jeffrey Hagerman is a New York-based on-set colorist whose work has taken him around the world. He’s worked on Cadillac commercials, Marvel’s Daredevil, and the pilot episode of Mr. Robot. His experience with robotics along with adapting to technological advances have contributed to his success and have connected the worlds of set and post. In this episode, he talks with James about his experiences on-set, his journey to his position now, and the benefits of having a colorist. This is a conversation you do not want to miss.Talking Points-How he incorporated robotics into his craft-How he went from a business student to working in the film world-His view of the technical side of filmmaking-The colorist/director of photography relationship-How to work with a colorist on a budget-Why it is so important to understand lighting in a time where many cameras are great-The role of the colorist-How color palettes can influence the mood of a show or movie-Managing expectations as a colorist

PreviewRoy Rossovich is an FSF (Sweden Society of Cinematographers)-certified cinematographer and a Hasselblad Master of photography. James met Roy three years ago on-set in Columbus for the film, Batibat. We are honored to have Roy in this episode of our podcast. We talk about Roy’s ascent from fashion photographer to a cinematographer, from being on-set with his dad, an actor, to becoming a Hasselblad Master and becoming an FSF member. We go into how anything from an Arri Alexa Mini LF to a Blackmagic Design Pocket Cinema Camera 4K has changed the film industry and color science. Finally, we talk briefly about how to separate your work from everyone else in the age of social media. We know it is a tough time for everyone in the industry with the Coronavirus going around, but we hope this can keep all of you motivated and entertained.Talking Points-How his career in fashion photography translated into his career in cinematography-How to distinguish yourself in the age of social media-How becoming a Hasselblad Master was the turning point of Roy’s career, which eventually resulted in him becoming an FSF (Sweden Society of Cinematographers) member-How much easier it is to film high-quality footage with a small setup-The piece of gear Roy has to have when limited on equipment weight-Advice Roy has for young filmmakers-The importance of hiring a coloristSocial MediaWebsite: www.royrossovich.comIG: roy_rossovichIMDb: Roy Rossovich

PreviewOn Spokes, we talk with some of the film industry’s greatest minds. What we usually do not hear about is an actor’s point of view of the business. In this episode, we welcome Michael Vitovich to the show to discuss the struggles and successes of an acting career. Michael is known for his work on Showtime’s The Good Lord Bird, Netflix’s Wasp Network, and Investigation Discovery’s Homicide Hunter. Born in Cleveland and now residing in Miami (similar to where a famous basketball player took his talents to in 2010!), Michael talks about his experiences on-set. Whether it is local productions where he is not just acting but helping with crew work, to bigger sets where he receives preferential treatment, he goes through it all. He also discusses the struggles of working in Miami and the opportunities he had to create after being fired from his regular job. This May, he is performing at the Miami Improv to bring a dark comedy approach to his career performing autopsies.Talking Points-Michael’s Journey through odd jobs to support his acting career-The importance of networking, especially in a town where film is in the decline-The differences in working on smaller sets compared to large, big-budget gigs-Projects he has been involved in-The directing acting is headed-How he markets himself as an actor-The actor/crew member relationshipSocial Media-Facebook: Michael Vitovich-Twitter: @MorgueCandy-IG: morguecandy

PreviewIf you’re outside the film community, you may have not heard of Joyce Tsang, but we can guarantee you that you have seen some of her work. Joyce is an Emmy Award-winning filmmaker based in Portland, Oregon. She and her husband, Raymond, own Only Today, a production agency where they have filmed projects with CBS Sports, Facebook, and Adobe. In this episode, we talk with Joyce about being on the road as a filmmaker, as well as discussing women behind the camera. We also go into how much strategy has to change when working on a bigger project. Finally, we talk a little bit about getting over the hump in slow periods of work.Talking Points-Tips on traveling abroad for a shoot-The evolution of affordable filmmaking-Her journey in filmmaking-Her approach to working on major projects-Women behind the camera-Overcoming the hump of slow periods of workSocial MediaWebsite: onlytoday.tvIG: joycectsangVimeoMentioned on the PodcastCinematography Database InstagramThe Session

Brightcove Play Conference (Boston, MA - May 18-20, 2020) - Registration: Click HerePreviewMany film companies strive to improve their marketing videos for clients, but how do you maintain that success when corporations are starting to produce more content in-house? Ian Servin leads the video team for the video cloud service provider, Brightcove. He also coaches and consults creatives in growing their businesses. In this episode, James talks with Ian about how film companies, like ours, can improve and get over slumps by creating more content and how consistency matters. We also go over the pros and cons of social media marketing.Talking Points-How more affordable products led to more competition for work-Keeping positivity up in slow times-Why “Hard Work Pays Off”-The rise of companies hiring their own film teams-Social media presence of marketing films-How production companies can find their identity-Why hiring your friend COULD not be a bad thing-Livecast technology-Brightcove Play conference-Building your story around your format-Making your small-scale project compelling-Balancing your film career with personal lifeSocial MediaWebsite: ianservin.comIG: ianservinTwitter: @iservinBrightcove

PreviewIf you are a part of Cleveland’s film scene, you may have encountered this episode’s guest at one point. Mike Wendt is the production coordinator for the Greater Cleveland Film Commission. Outside of his day job, he is still active in his own projects. Recently, he received a Satellite Fund Grant through Spaces and The Andy Warhol Foundation, which will help him finish the documentary, “Robert Banks: I’ll Tell You About That Later.” Today, we talk with Mike about the state of film here in The Land. We go into his career in film, where he had spent time with Tribeca and connected with everyone he met to further advance his career. Again, joining James in co-hosting duties is Chris “Tico” Crawford.Talking Points-His beginnings in film from Tribeca to an encounter with an infamous producer-How he kept his morale up after being rejected from working a blockbuster film-How we can become better filmmakers, regardless of gear-The film scene in Northeast Ohio, why projects choose or reject filming here-The not-so-glamorous life of a location scout-Why he has a passion for documentaries-The importance of a film commissionSocial MediaIG: endmikeTwitter: @endmike1Facebook: Mike WendtGreater Cleveland Film Commission

Masters In Motion-Philadelphia: June 15-18, 2020-Austin: December 6-9, 2020A few years ago, James attended Masters in Motion, a filmmaking workshop held every December in Austin, TX. It is a rare opportunity to learn from some of the industry’s best minds and to network with other like-minded individuals. There, he met the workshop’s co-founder, Jon Connor, who is also a filmmaker, writer, and editor. He also is the producer for the workshop’s Art Vs. Commerce podcast. Today, we sit down with Jon and talk about his experiences in filmmaking, as well as how “Masters” was conceived. Joining us again for this podcast is Chris “Tico” Crawford.Talking Points-Pros and Cons of being a freelancer-Lessons from filmmaking experience and tips for up-and-coming filmmakers-His experience as both a DP and an editor-How Masters in Motion evolved to what it is today-The future of Masters in Motion-Advice to filmmakers who are doing this as their main job, especially when it comes down to networking-Biggest influence on his careerSocial MediaIG: jonconnorMuhammad Ali: A Life

What if I told you that a form of dance can be therapeutic? That is krumping. On this podcast, we talk with directors Chris Webb and Conrad Miles about their project “The Session,” which focuses on that culture in Cleveland.Talking Points-What is “The Session” and how did it come about?-Why krumping?-Conrad’s path to krumping-The message that the movie is meant to convey-The film’s Cleveland connection-Using film as a platform to “be heard”Social MediaChris: WebsiteIG: chriswebbspeaksFacebook: Chris WebbTwitter: @chriswebbspeaksConradIG: imxabelFacebook: Conrad Abel Miles

Show LinkPreviewWhat does it take to become a great storyteller? If you listen to this episode, you may learn a few things about that. We have our friend, Grant Peele, on the podcast. Grant is a director and cinematographer out of Wilmington, Ohio, who has made documentaries, “#standwithme” and “I’m Fine, Thanks.” He has worked with Stillmotion, now MUSE Storytelling, and is the co-founder of the Collective Film Project.In this episode, Grant talks about the relatively unorthodox way that he became a filmmaker. We go in-depth about filming interviews and the importance of conducting one.Talking Points-Grant’s connection with Stillmotion, now MUSE Storytelling, and how it helped him become a great filmmaker-The art of conducting an interview and the importance of connecting with the interviewee-The importance of a postmortem and how it can set you up for future success-The “Peanut Butter and Jelly” technique to engage the interviewee into a more interesting conversationSocial MediaIG: @grantpeelleMuse Storytelling#standwithme on Vimeo (also available on Amazon)I’m FIne, Thanks on Vimeo (also available on Amazon)