The Daily Parker

Politics, Weather, Photography, and the Dog


Why it's important to get your scanner settings correct:

Duh. Film setting, dude. Film setting.

New time-wasting blog to follow

Not Always Right, vigniettes that demonstrate how customer stupidity is an absolute limit on customer service:

Me: "Thank you for calling ***. How may I help you today?"

Caller: "I'm having problems with my computer and–"

(Suddenly, what sounds like an air raid siren sounds off in the background.)

Me: "Ma'am, I apologize. I was unable to hear what you said."

Caller: "Stupid tornado warnings! They always make it hard to talk on the phone."

Me: "Oh...should I let you go?"

Caller: "Nah. This happens all of the time."

(In addition to the siren, I hear a door slam and the sound of someone else entering the room. I hear a male voice who I guess is the caller's husband.)

Caller's husband: "D*** it woman, are you crazy?! Get to the basement!"

Caller: "Oh, I guess I should go..." *hangs up*

There are 275 more pages of them. Lovely.

Oh, sad day for NPR

Carl Kasell is retiring December 30th:

Kasell will, however, continue as official judge and scorekeeper of the Chicago Public Radio-produced quiz program, "Wait Wait … Don't Tell Me!," "the show that turned him from a newsman into a rock star," as noted in a memo to staff Monday from David Sweeney, NPR's managing editor for news, and Margaret Low Smith, its vice president of programming.


Tall buildings slightly redefined

While the Burj Dubai will likely remain the tallest building in the world for a long time, the rankings of the next few buildings on the "world's tallest" list got shuffled today when the organization that ranks them changed the definition a bit:

The old standard was that a skyscraper's height was determined by calculating the distance from the sidewalk outside the main entrance to the building's spire or structural top.

The new standard is that height is measured from "the lowest, significant, open-air, pedestrian entrance" to the top.

This means that Trump Tower, Chicago, moved up to 6th place, and some of the other "official" heights got jiggled a bit. The new rankings as of January (when Burj Dubai opens) are:

  1. Burj Dubai, U.A.E., 818 m
  2. Taipei 101, Taiwan, 508 m
  3. Shanghai World Financial Center, China, 492 m
  4. Petronas Towers 1, Kuala Lampur, Malaysia, 452 m
  5. Petronas Towers 2, Kuala Lampur, Malaysia, 452 m
  6. Sears Willis Tower, Chicago, 442 m
  7. Trump Tower, Chicago, 423 m
  8. Jin Mao Building, Shanghai, China, 421 m
  9. Two International Financial Center, Hong Kong, 415 m
  10. CITIC Plaza, Guangzhou, China, 390 m

Notice that all but two of the entrants in the list are in Asia, the exceptions being within five blocks of each other right here in Chicago. Still, it's sad to see the Hancock Center, Empire State Building, and a few others I could name, missing from the top-10 list.

Very strange coyote behavior

A pack of coyotes attacked a hiker in Nova Scotia yesterday, in a well-traveled area near enough other people that a police officer drove off the attacking dogs. Coyotes almost never attack people; what's going on here? The A.P. reports:

Wildlife biologist Bob Bancroft said coyote attacks are extremely rare because the animals are usually shy.

Bancroft, a retired biologist with Nova Scotia's Department of Natural Resources, said it's possible the coyotes thought [attack victim Taylor] Mitchell was a deer or other prey.

"It's very unusual and is not likely to repeated," Bancroft said. "We shouldn't assume that coyotes are suddenly going to become the big bad wolf."

An official with Parks Canada said they blocked the entrance to the trail where Mitchell was attacked and were trying to find the animals to determine what prompted such an unusual attack.

Possibly the encroachment of humans on their territory has made them less afraid of us? Still, coyotes don't usually behave like that.

Pack, read, repeat

The CCMBA Dubai residency starts in just over 3 days, and I'm leaving in 53 hours. I hope I've learned from the mistakes I made in the London residency, so I can make all new mistakes. Some observations so far:

  • I do not need the one-kilo power converter; I only need a couple of UK-US adapters. This is because, as I realized in London, everything I have with a plug accepts all international power characteristics. (The U.S. is 110 volts, 60 Hertz; the U.K. and U.A.E. both use 220 volts, 50 Hertz, with U.K.—style plugs.)
  • The weather forecast for Dubai calls for highs of 33°C, lows of 23°C, and sunny skies every single day. This should significantly reduce the mass of all the clothing I need to pack. Except, I'll have to get to and from O'Hare and I'll be spending two days in London on the way back. Packing for three different climates? Fun!
  • I won't have mobile phone service in Dubai. Oh, sure, my GSM phone will work in the UAE, but as T-Mobile would charge something like $5 per minute and $1 per text there, I'll just leave the thing off entirely.
  • But when will I have time to make phone calls? The program schedule has us running around up to 15 hours a day, starting at 8:00 the first morning we're there.
  • As an aviation geek, I'm particularly excited about the flight from London to Dubai. It'll be the first time I've been on a 747 in over 20 years. (American Airlines hasn't had them since the early 1980s.) I'll have a full report sometime in November.

In conseqence, I'm a lot more laid-back about this trip than I was for London.

Could have been worse

First, via AV Web, a report that a Delta 767 landed just a bit off the runway centerline returning from Rio de Janeiro Monday:

A couple of Delta Airlines pilots have been suspended after the Boeing 767 they were flying from Rio de Janeiro landed on a taxiway at Atlanta Hartsfield Airport early Monday morning. The FAA reported there were no other aircraft on the taxiway and the landing and rollout were normal. Spokeswoman Kathleen Bergen said the crew was dealing with a medical emergency on board and had been cleared for Runway 27R.

Instead, the crew landed on taxiway M, which runs parallel to the 12,000-foot runway. There was no indication that approach, runway or taxiway lights were malfunctioning. Taxiway landings occur from time to time, but Bergen told Atlanta media that she believes it was the first such incident in Atlanta.

The Atlanta Journal-Constitution has more.

And this, from Tom Vanderbilt...well, good thing the pedestrian had a running start:

Lessons learned from the London Culture Dash

I spent 12 hours this week editing video[1] into a 5-minute class project, which I think turned out all right, but which taught me a few lessons I hope help other people.

Shooting video looks easy. You point the camera, you push "record" to start, and you push "stop" when done. Voilà, you've got video!

If only. Shooting video you have to edit together into a cohesive, 5-minute package actually requires serious planning and attention. As a camera operator, you do not want your editor to curse you out loud with enough vitriol to make the dog leave the room, especially if you're the editor. And you absolutely do not want your classmates to say things like, "oh...that was...different..." when you're reviewing it in class.

First, some background on the project.

During each non-U.S. CCMBA residency, the teams go out for a five-hour block of time to shoot a video project. The assignment requires us to go to three culturally-significant locations (from a list of 12) and interview people about the locations' cultural significance. We also have to map each location to a list of "Cultural Dimensions" (from Cornelius Grove's 1995 GLOBE study) and, one hopes, find at least one person who can confirm on video the team hypothesis of which dimension the location represents.

The teams fanned out across London on August 19th with our Flip cameras and notebooks. My group chose to visit Crystal Palace, Westminster Abbey, and No. 10 Downing Street (which we believed represented "Performance Orientation," "Collectivism," and "Power Distance," respectively). We shot about 17 minutes of video, including about 2 minutes of my feet when I failed to press the "stop" button firmly enough at one point.

Here, in descending order of importance, are the things I learned editing this video:

Outline your story before anything else. This isn't always possible, but the more planning you can do before heading out, the stronger your package will look. Every story has a beginning, a middle, and an end; identify these three things before shooting a single frame of video, and everything else will fall into place.

Get as much tape as you can. As all my Hofstra T.V. friends will remind me (Yak, my college roommate, especially), for a 5-minute package you need at minimum 25 minutes of raw tape—50 if you haven't outlined your story first. Really, you can't have too much tape: you can always cut out what you don't need, but when you're editing in Chicago you can't go back to London to get B-roll[2].

Shoot as much B-roll as you can, too, because if you have to cut an interview while the subject is speaking, having a 10-second shot of something else over the interviewee's speech can mask the edit.

Script the opening interview questions. Obviously you can't script an entire interview. But having scripted questions gives you two things in post-production: first, it allows the editor to cut in reverses[3] that flow seamlessly into the interview. Even though you'll want to shoot the reverses after the interview, it's incumbent upon the reporter to ask exactly the same question that the subject answered. Scripting also helps the reporter to be succinct, which makes editing easier; viewers want to see the interviewee, not the interviewer, but a long, rambling question can't be cut gracefully.

Plan your shots before going to the location. You need to know ahead of time the shots you must have to complete the package. Again, thinking to oneself, "I really want a shot of Victoria Station right here..." is kind of frustrating when you're editing video 6000 km from Victoria Station. Same with thinking of a follow-up question two months later: unhelpful.

Take your time at the shoot. There were a couple of times when I started or ended a shot abruptly. Fortunately, Yak's frequent rants in the dorm about the sophomores he was supervising were burned into my brain, so I took his advice to get at least 10 seconds of still footage at the beginning and end every shot. I also got the stand-ins to pause for a few seconds before starting to speak, and held on the interview subjects for several seconds after they finished. This helped immensely with transitions, fades, etc.

Similarly, when shooting B-roll, move...very...slowly. You can often speed up a shot subtly without making the audience want to hum "Yakety Sax." But slowing a shot down requires repeating frames, which makes it look jerky, and makes the editor call you names.

Leave captions up longer than you think you need, but keep them succinct. My initial cut had some captions going by so fast even I couldn't read them. Captions need to use a large enough font to be read; they need to stay on screen long enough to read them; and when captioning a speaker, they need to match the speaker accurately. On the latter point, it's perfectly ethical to cut non-essential words from captions if the speaker talks quickly, as long as you don't change his meaning or demeanor.

Get the subjects' names. Even first names help. This was a forehead-smacking oversight on our project.

Designate a producer. The team should have someone else take notes (see previous lesson), corral the subjects, keep the interviewer focused, watch for matching problems, mark interesting things the subject says, and so on. In short, the producer should constantly think about how the final video will look, while the camera operator concentrates on the current shot.

Hold the camera still. It's hard enough getting shots to match; it's nearly impossible to match "Blair Witch"-style footage. (Myrick and Sánchez planned each shot meticulously, by the way.) Similarly, interviewers need to hold themselves still if they're in the shot, otherwise the reverses won't match.

The operator shouldn't talk. Sound volume decreases with the square of the distance from the microphone. If you're holding the camera, you're right next to the microphone; anything you say booms out like the voice of God.

Finally, have fun. We had a great afternoon, and I think we put together a good product. Over the next four residencies the CCMBA December 2010 teams will produce another 80 Culture Dash videos. I hope this post can help make all 80 of them more enjoyable to produce and to watch.

[1] Unfortunately, I can't post the completed video, because we assured two of subjects that we would not publish their interviews. I can post some of it—but not before we formally present it to the class tomorrow morning. I apologize for posting an entry about a video that you're not yet allowed to see.

[2] B-roll is the footage of everything other than your interview subjects and reporters. B-roll includes shots of the location, shots of getting to and from the location, establishing shots, shots of people at the location...essentially, everything that can help you establish context or make transitions.

[3] A reverse shot shows the world from the main shot's point of view. For example, if your main shot is an interview subject, shot over the reporter's shoulder, the reverse would show the reporter, over the subject's shoulder. When shooting reverses it's also very important not to cross the axis, the imaginary line connecting the two people. So if you shoot the subject over the reporter's left shoulder, it's vital to shoot the reporter over the subject's right shoulder, otherwise the edited video will make it seem like they're looking in opposite directions.

News scan

So what news story should I focus on today? The Cubs using the bankruptcy code to speed up their sale to the Ricketts family? General Motors ramping up production by 45% to see if we'll bail them out a second time? Former Enron CEO Jeff Skilling's appeal to the U.S. Supreme Court?

No, I want to point people toward the Night of the Stripping Dead event at the Admiral Theater tomorrow night:

Exotic dancers and zombies, the two grand pillars of American subculture, have finally joined forces -- thus proving our nation's obsession with the walking dead has irrevocably crossed the line of mainstream consciousness, where now strippers are parodying a trend.

Wednesday night, club organizers are throwing an event...where professional makeup artists will transform otherwise pious dancers into undead dancers.


For completeness, the Admiral Theater is on Lawrence just east of Pulaski.