2010 February | T2 + Back Alley Blog - Part 2

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Nicole Melton
February 11th, 2010
by Nicole Melton
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Five Years, Baby!!

So, five years is a long time, right? The world changes from minute to minute–so FIVE years–a lot happens and changes in that time. Well, five years ago T2 in partnership with Inland Sea Productions and the Kansas City Area Development Council started work on the “The Next American Dream”–a documentary on the revitalization of downtowns all across the nation. Kansas City was a natural fit for the documentary for a number of reasons. First, and most obvious – we live here! Duh!! Why would we shoot a doc on another city’s revitalization? We don’t live there and couldn’t watch the progress. Additionally, some folks had told KC officials that we were doing the rebuild the right way…and apparently doing it ahead of schedule. So…. off we went. Camera in hand. Again…and again….and again….and again….for like–4 years. It was like Groundhog Day, only we knew that we would ALWAYS have six more weeks of shooting and interviews. :)

Then, before we knew it, years 4 and 5 were upon us. We were in post and knocking out really fantastic story. T2 editor, Cara Myers, is a champ. Plugging away day after day–digging through literally YEARS of footage and interviews. Writers Aimee Larrabee and Larry Garrett helped to keep Cara sane while she was in the editorial suite. I have to admit, I often wondered if they drugged her….oops, I digress. T2 graphics, headed up by Michael Ong, brought the color and elevated entertainment value with the motion graphics. I loved being in meetings with Michael discussing the graphic look for the doc. I finally understood that when an artist would show Michael an idea he had for the documentary graphics–the sometimes response from Michael being “Interesting.”—actually means: “Whoa Nelley, that is kinda ugly and why don’t you give it one more shot.” Michael knew the look and feel of this documentary from day one. He stayed true to his vision–and we are all grateful for that amazing vision!

Premiere time. We finished the doc and it was time for the premiere–Oct. 7, 2009 at the new Power and Light AMC theater. We were all excited…but nervous that all of the folks were going to be looking at our newborn baby for the first time. Would they think its cute? :) They did and it has been a success ever since. Yes, it has been shown in over 40% of the United States and 32% of the top 50 markets–yes, all that is true. Now for the mushy stuff– it being shown in all of the markets in the world won’t touch the immense pride, joy and pure satisfaction I have for being apart of this documentary. A true labor of love. For me, it truly was a dream come true. I am looking for the next doc for us to sink our T2 teeth into–but nothing will match the passion of our first– “The Next American Dream.”

Michael Ong
February 10th, 2010
by Michael Ong
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Flash me; Flash me not

Flash me; Flash me not
In the blind spot of Google
I don’t want to be

– Michael Ong

Footnote: Lately, there has been much discussions about how to improve T2 and Back Alley Films’ ranking in search engine results. It seems like there’s a list of cardinal rules one should not break, if one wishes to enter the pearly gates of Google or Bing. And unlike the Ten Commandments which were engraved eternally onto a couple of stone tablets, the search engines algorithm changes constantly, making it even more difficult to be pious. Since T2 and Back Alley Films are in the production and post production business, we are a visual design and storytelling company. It only makes sense for us to go with a very visual rich and dynamic site, to showcase our commercial productions, motion graphics and experiential design works. And naturally chose to design our site in Flash.

Anyone who was geeky enough to watch the streaming keynote of Steve Jobs unveiling Apple’s much hyped iPad, probably heard the almost audible cyber-gasps when the “missing plugin icon” appeared on the NYTimes.com page — a sure sign of NO to Flash.

I dug a little deeper and found out that apparently Google and Apple engineers are both working on standardizing HTML5, which is supposedly the new and improved programming language that reduces the need for proprietary plugin-based rich internet applications. Of course, Adobe (the developer of Flash) is the biggest opponent to it. In this case, will Google’s little eight-legged freak, Googlebot, ever make an extra effort to be friendlier to Flash sites?

All the geek talk aside, T2 has a beautifully designed and dynamic site, which won us the very prestigious FWA Site-of-the -Day title (September 17, 2009), but our all-Flash site is not at all arachno-friendly. Does the importance of SEO force many sites to sacrifice the design and dynamic impact of the ones built in Flash? How do we balance between maintaining the dynamic visual impact, which is the core of our business, and achieving higher ranking?

Pete Meyer
February 9th, 2010
by Pete Meyer
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And the Red Light Was My Mind

I don’t generally concern myself with what other people are working on in this building. We’re busy enough around here and the last thing in the world I want is to get pulled into a room to look at a rough cut three times a day. So, I’ve come up with a strategy where I call people by the wrong names in order to foster an atmosphere of unapproachability. And for the last few years, it’s served as a successful way to get through the day with minimal effort.

But a few months ago, I began to hear rumblings about some new “Experience Lab” on the other side of the building. It involved something called “augmented reality” which sounded utterly ridiculous and the guy who was working the most on it was this young kid Garrett, who I’d been calling “Günther” so I wouldn’t have to talk to him.

But then I came across this video on the internet.

That specific piece wasn’t done at T2, but apparently this is the type of devil work that Garrett and the rest of the back room kids have been into.

I have enough trouble making a cup of tea without having to wade through a sea of floating banner ads. In the past, when people talked about “ad creep”, I used to laugh, because I secretly like the idea of an entire society being driven to madness by a constant barrage of urgent messages. But now that I see it in practice, I don’t like it at all.

When they portrayed this exact same thing in Minority Report, it was still dystopic, but at least it was pretty.

So, Günther. Or Garrett. Whatever your name is, please make your floating devil videos look more like the Spielberg version rather than the tea making example. If I’m going to have to submit control to talking 3D billboards, at least give me something to look forward to.

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Tyler Smith
February 9th, 2010
by Tyler Smith
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Introducing: Joshua Reis

Proudly Announcing Joshua Reis

Last year I was eager to find an up and coming Director of Photography that had an interest in directing. I asked a former colleague in Los Angeles if she had come across anyone – and she suggest that I take a look at Joshua Reis’s work. She wasn’t sure if he wanted to direct, but she said he had a fantastic DP reel, and was full of energy and passion on set. Perfect. When I first reached out to Josh, he said that my call came a couple of years before he had expected it to. But, it was a resounding “YES” when it came to his desire to combine his passion behind the camera with his goal to direct.

"directors chair"This past week we booked another job for Josh, and he will have his first opportunity to team with the creatives at VML – We couldn’t be more excited. Josh has now shot in Kansas City on multiple occasions and has come to understand what drives our passion for production…Great creatives, great crew and BBQ.

It’s been such a pleasure working with Josh as he continues to seize every opportunity that comes his way. I think a director should always take advantage of any opportunity where they can hone their skills, and grow in their ability to make the most of any concept. Obviously creating spec work allows any up and coming director that opportunity – So I asked Josh to elaborate on spec work. “My specs give me an opportunity to try something new and experiment.  They allow me to be simultaneously in the director and DP seat.  Thus, I think a lot of my best stuff is my spec and low budget work, which I can maximize the resources at hand and focus purely on the story or concept”.

Where I have seen the most growth in his transition into directing, has been Josh’s ability to translate his knowledge as a DP, and apply that knowledge directly to the outcome of the concept. Josh is able to elevate compositions by expanding upon the various tools of his trade. He encourages creatives to explore these tools and push their concepts further. Josh says, “Its probably the most exciting time in cinematic history to be a director/DP.  Never before has there been so many photographic tools to choose from.  This includes 35, Super 16, compact HD, 2/3, and 35mm sensor digital cameras.  The latest film-stocks continue to push the envelope.  New cameras such as the Canon 5D, Red, and Sony F-35 seem to hit the market annually if not monthly.  One of the best aspects of being a director/DP is to be able to be at the forefront of the technology and test the waters as they say.  I enjoy experimenting with the latest tools/technology and use that in conjunction with my post production skill-sets.  I have lensed a music video in 3D.  Filmed a handful of videos and projects at 1000 fps.  Last week, I shot my first motion control project.  Being at the forefront of technology is one of the best aspects of being a DP/director.  However, I am an owner of an Arri SR3, Super 16 camera package, so I am still a big fan of film.  Nothing is as raw and gritty as shooting with a hand crank converted Arri 2c.  I enjoy having a diversified vocabulary in both film and digital toolsets.  Its hard to imagine what will be new in the next two years…

Indeed it is – And working with Josh, it’s even harder to imagine how much he’ll continue to grow as a director/DP over that time.

Tyler Smith
February 8th, 2010
by Tyler Smith
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Dawn of a New Decade. Defined by the Underdog

From my first job in production to today

video reelMy first job in production was to watch director reels so that I could familiarize myself with the work, and the talent behind the work.  I had a grading system that filled notebooks full of my green critique – Back then, we had the giant ¾ inch tapes that needed an entire room of their own just to be housed. The room had a metal chair, no windows and sat directly across the hall from one of the most notorious office smokers in our building. As dreary as that Barney Miller-backdrop-of-an office was, it also came to represent the room where I would find my escape from the day to day. A new world opened up to me behind those closed doors, one that gave me a glimpse into the creative talent that I knew I wanted to work with one day.

The grading system was based on points, 10 being the highest. I hadn’t been exposed to advertising long enough to know how important any kind of relevant brand message was in commercials, so my grades went something like this – If there was anyone in a bikini, it got a 10. If there was a Harley spot on the reel, that director got a 10. Anything with Bo Jackson got a 10. But then my grading evolved as I watched reel after reel…I came to appreciate good composition. I started to recognize good acting. I began to see simple concepts make a very lasting impression. My notebooks grew in size, as I wrote about everything I saw and the emotions each spot would evoke. Some directors faded while others started to rise. What became obvious were the directors that stayed relevant with new work. Sure, it was easy for some who had a super bowl spot on their reel to stay relevant and get new bud light work each month. But, what caught my attention were the directors that flew under the proverbial ad-rat radar. These directors stayed busy by passionately driving the work on seemingly unknown and irrelevant brands – and in doing so, they became relevant in my eyes. I associated with their desire to make the most out of every opportunity you’re given. Spoon wrote one of my favorite lyrics – “You got no fear of the underdog, and that’s why you will not survive”.

At Back Alley, we’re building a team of artists –  those artists are a combination of visionaries with disciplines in directing, photography, writing,  music, art, and just about any imaginable creative outlet that defines and shapes their ambitions. Our job is to guard that ambition and throw our net as wide as we can in 2010, providing them with every opportunity to channel those disciplines into creating relevant work that will build brands, grow relationships with customers and create friendships with like-minded creatives & clients.

In the coming weeks, I’ll be blogging with our artists to capture what’s on their mind and relevant to them. I hope it will be information that becomes relevant to you. It’s the dawn of a new decade – one that will be defined by the underdog, and who chooses to seize the opportunities that others fear are no longer there.