Crowdsourcing is the act of engaging the public at large to help a person or organization perform a task that it would otherwise normally do itself.

Still confused?  Fair enough.

Basically, imagine that you’re friends with everyone and you have the to power to ask them for a favor and they do it.  Sounds awesome, right?  It can be.  Not only that, it’s actually finding a legitimate purpose in many fields these days.  The power of the internet is allowing like-minded people to get behind ideas they’re passionate about like never before.  Two companies that are on the front lines of this revolution are Kickstarter and IndieGoGo.

Here at Copper Pot we’ve been watching this closely and are about to embark on our first crowdsourcing endeavor.   In our industry, the independent film business, money to produce films is and probably always will be, hard to come by.  The numbers are not in our favor.  Most indies don’t make money.  While the digital revolution has helped to lower production costs, that, in turn, has flooded the market with content making finding the right distribution difficult at times.  For our next feature, I AM BIG BIRD, we’ve decided to supplement our “normal” financing with a crowdsourcing effort.  We came to the conclusion that not only could this be a great way to secure some additional capital, but it’ll also be a unique way to start engaging with our audience before we’re even done with the movie.  The marketing and financial upside seemed too great to ignore so we started weighing our options.

Enter Kickstarter and IndieGoGo.  These two companies are tailor-made to help independent creators raise money for their projects.  Choosing which company is best for your project is not an easy task.   First of all, here’s a comparison of some of the basic features:

Kickstarter 

• If the campaign is successful, they take 5% of money raised and a third party payment processor takes an additional 3-5% depending on amount raised.
• They utilize an All-Or-Nothing funding method,  requiring a project to reach its funding goal in order to receive funds.  They feel this protects backers and creators alike.
• They require project creators to offer rewards to the backers of the project.  Typically, the more compelling the rewards, the more funded a project becomes.
• Kickstarter has gained a great reputation in the independent film community and has helped to raise more than $45 million dollars for film projects, many of which have gone onto great success (including three films which made the Oscar documentary shortlist).

IndieGoGo

• If the campaign reaches its goal, they take 4% of money raised and a third party payment processor takes an additional “about” 3% (the “about” terminology is taken from IndieGoGo’s website; one can assume that the more money raised, the higher that 3% can be).
• If the campaign does not reach its goal, they take 9% of money raised and the project is still subject to the third party fee.
• They allow the creator to determine whether or not they want to utilize an all-or-nothing funding method.  They call the all-or-nothing method Fixed Funding and if the project is not successful, all donations are returned and no fees are charged.
• IndieGoGo allows the creator to apply for a fiscal sponsor, which allows the donations to be tax deductible.
• They don’t require the creator to offer the contributors anything, but do recommend offering perks.

I know, that’s a lot of info and we’ve just started scratching the surface.  As we continue this process, we’ll keep you up to date.  We’ll choose a site to partner with and let you in on all the work we’re doing to make this a successful effort.  You might be tempted to imagine that you can just set up a project for free on either site and wait for the donations to roll in, but trust us… there is a serious amount of work required to get this done right.  More to come…

There are a LOT of festivals out there.  And there are even more films in those festivals.  It’s not easy to stand out and make an impression when you get there (especially with filmmaker happy hours where presenting sponsors offer their wares on the cheap).  That said, when we were touring around with BROWNSTONES TO RED DIRT, we picked up a few things that might be helpful should you find yourself applying, or, better yet, accepted to a film festival.  There is so much to know that I imagine we’ll add to this post at a later date, but let’s just jump right in with what’s on our mind now…

WHEN APPLYING…

KNOW YOUR AUDIENCE–it’s never too early to start targeting festivals.  Sure, you’ll apply to big festivals and you should.  Getting into one of the big guys will change the course of your film.  But what other festivals are out there that suit the theme of your film?  For example, a major component of KEI is soccer, so we looked at festivals with sub-categories featuring sports.  Kei plays in Kansas City where there’s a rabid soccer fanbase, so we’re applying to the Kansas City Film Festival–it’s a no-brainer.  Don’t just rely on festivals you’ve heard of.  Do your research.  Which leads me to…

WITHOUTABOX IS YOUR BEST FRIEND–You probably know this already.  But if you don’t, you will.  I always tell people that applying to festivals is like applying to college.  If that’s true, WAB is the common application.  Here, you can build your entire project, upload a screener and search for festivals.  WAB also suggests festivals based on your description of your film.  Once you’ve created an entry for your film, submitting to festivals is done in one click.  It’s a godsend.  Not every festival is on WAB, particularly the household name ones, but most regional festivals can be found there.

BUDGET–film festivals are expensive.  At minimum, you need to account for entry fees and shipping costs.  The advent of online screeners–which we’re taking advantage of with KEI–cuts down shipping considerably.  But if you get INTO a festival, it’s going to cost you a lot more.  While a lot of festivals offer discounts on airfare or hotels, don’t count on them bankrolling your trip.  Keep this in mind–nothing is worse than turning down an invite because airfare wasn’t built into your budget.  Another tip we picked up along the way is to hire a publicist… I know–you’re thinking that you can just paper Park City with flyers and Tweet your way to a buzz-worthy screening–and you certainly might be able to.  But don’t underestimate the value of someone that has contacts in the right places.  What’s it going to cost?  We’ve budgeted it out at $5,000… per festival.  You’ll also need to plan on spending money on publicity materials of your own: almost every festival requests a poster, postcards and press kits.  Everyone else will have these.  Unfortunately, you need them too.

WHEN YOU GET IN…

AUDIENCE BUILDING–the more festivals we attended with BROWNSTONES TO RED DIRT, the more obvious it became that some festivals do a better job drawing an audience than others.  But, even without the support of the festival, you can do some groundwork that can help get that theater full.  Are there local organizations that would be interested in your film?  For example, with BROWNSTONES, we had a built-in audience in Seattle because Schools for Salone, the charity we worked with to build the school, is headquartered there.  We had two screenings that were both sold out and had a rush line 40 people deep.  We ended up leaving there finishing as a runner-up for the Golden Space Needle Audience Choice Award alongside the Oscar-nominated RESTREPO.  Not only was that an honor and a bit of an ego boost, but it led to calls from distributors.  Engaging a passionate, local fanbase where you’re screening is the quickest way to ensure seats are full.

Obviously, press relases and all forms of social media are great ways to find an audience, but don’t restrict yourself to those.  Find a local connection.  Make yourself available.  Make people WANT to come.

TAKE ADVANTAGE OF WHAT THE FESTIVAL HAS TO OFFER–in addition to panels and special screenings, the larger festivals with established film societies often give grants or offer other services.  Check these out.  When we were in San Francisco, we had a wonderful sit down with someone in filmmaker services who provided us with a great overview about their fiscal sponsorship program.  Our relationship continued to grow and we received invaluable feedback on our grant applications.  Not every festival has something like this, but be sure to research what’s available to filmmakers before you go.

DON’T BE A WALLFLOWER/PRACTICE YOUR KARAOKE–Ok, this one is definitely learned from experience.  If it were up to us, when our film isn’t showing, we’d be in another screening or chatting over a post-movie drink amongst the three of us.  But most festivals have some sort of filmmaker lounge that, aside from being a great place for swag, is packed with filmmakers.  It’s a great way to meet like-minded folks from all over the world.  You never know who you’ll work with down the road.  The most important thing you can do when you’re on the circuit is meet these people, tell them about your film, try to see their film and stay in touch.

And, for some reason, multiple festivals we attended had an epic (sometimes nightly) karaoke session.  Seriously.  Don’t be shy.  Grab the mic and let your inner Ke$ha take over.

I’m sure we’ll have more festival tips in the future, but feel free to shoot us questions directly about our experience.  We’ll answer them the best we can.

In PART 1 I’ll discuss our tape-based workflow, in PART 2 we’ll discuss a tapeless workflow and in PART 3 we’ll discuss consolidating media for long-term storage.

Put on your OCD hat, here we go!

Unfortunately, managing your media starts in the camera.  For those of you who don’t shoot the stuff you edit, this part of the process is somewhat out of your hands.  However, if you do shoot your own stuff, you can follow these guidelines.  Even if you don’t shoot your own stuff, you can pass these guidelines onto your project’s shooter.

It is very important, especially if you are working on a multi-camera shoot, to organize your tapes.  What we do is the following:

1.)   On our first tape of the day, we set our Timecode to 01:00:00:00, then each subsequent tape gets hour 2 timecode, then hour 3 timecode, etc.2.)   If it is a multi-camera shoot, all the tapes we shoot our first get hour 1 timecode, all the second tapes get hour 2, etc.  We just label each tape with a unique tape name.  For example, DATE_CAMA_001, DATE_CAMB_001, DATE_CAMC_001.  Then all the second hour tapes are named with a  “_002,” third hour tapes are labeled with a “ _003,” etc.3.)   So at the end of the day we are left with a stack of tapes that looks like this:

1. 020212_CAMA_001 – HOUR 1 TC
2. 020212_CAMA_002 – HOUR 2 TC
3. 020212_CAMA_003 – HOUR 3 TC
4. 020212_CAMB_001 – HOUR 1 TC
5. 020212_CAMB_002 – HOUR 2 TC
6. 020212_CAMB_003 – HOUR 3 TC
7. 020212_CAMC_001 – HOUR 1 TC
8. 020212_CAMC_002 – HOUR 2 TC
9. 020212_CAMC_003 – HOUR 3 TC

Even if you are shooting something like an interview, where all your cameras need to have their TC in sync, you can still use this method.  Just set your MASTER TC camera to FREE RUN TC and sync the MASTER TC to your other cameras using an RCA cable.  Now all your cameras will have the same TC (within a frame or two).  Then all you have to do is follow the TC guidelines above.

NOTE: This is our workflow using PANASONIC cameras.  If you are using different cameras then you may need some sort of TC Sync Generator.

In the edit…

Now you have a stack of tapes.  You’ve already done a lot of work to make sure your tapes are all labeled correctly and have the proper TC on them.  So now, please, please, please don’t ignore all this work.  When digitizing your footage you must, must, must make sure that the tape name you are logging matches the tape you are capturing from.

Back in the day, I knew editors that would just give a tape any old name, a name like “abaadlkjalkdjf” for example.  The idea was, the tape name doesn’t matter; I just need to digitize this stuff so I can start working.   But, what if your drive dies and you lose all your captured footage?  Do you have to re-log all of your footage and start over?  Not if you were diligent in naming your tapes when capturing!

All you have to do is open your project, highlight all the clips that are offline and Batch Capture the files.  Your editing software, whether it be AVID or Final Cut Pro, will ask you to load a specific tape into your deck and once you do that, it will recapture all the media from that tape.  Now, you’ve gone from a “start over” scenario to a slight delay in your editing schedule scenario.  Once everything has been captured, you can start working again as if nothing went wrong.  All the footage in your edited sequences will be there exactly how you left it.  Amazing!  And it is all because you were a genius media manager from the beginning!

One key to this workflow is to make sure you do not have your project file on the same drive as your captured media because if one drive dies that has everything on it, then you are out of luck.  There will be no way to re-log your lost clips because you won’t have a project file to open!   What we recommend is having your project file live on your computer’s hard drive and then have your footage live on an external hard drive.  We use and love our G-Tech ES PRO eSata external drives.  With our setup, if the drive dies, we still have our project file to open and we can easily re-capture all our media.

I hope you see how important it is to be part creative genius and part neurotic organizer when it comes to editing.  If you don’t now, you will when you have a drive die and you have to start a project over!

Next time we’ll look at tapeless workflow and then finish it off with what to do with a project it’s done… storage space doesn’t grow on trees you know!

What I have seen, I’ve loved.  What fascinates me about Mr. Morris is his uncanny ability to make a compelling film out of seemingly niche story or character.  I had the chance to see Mr. Morris speak at one of The New York Times-sponsored “Times Talks” a few weeks ago and it reminded me why I love making, and, I suppose, watching docs (I paid $30 to see the talk, but you can watch it free HERE).

Obviously, in the allotted hour, there was only so much of Mr. Morris’ career that moderator George Kalogerakis could cover.  But in the wide-ranging interview, they touched on some topics that fascinated Mr. Morris and which he might one day turn into one of his Times articles or films.  Somewhat jokingly, Mr. Kalogerakis brought up spontaneous human combustion, which, honestly, I only knew of from Calvin and Hobbes, but apparently is a disputed phenomenon.  The question may have been tongue-in-cheek, but Mr. Morris went on to describe his fascination with “SHC” and I quickly found myself hoping he’d make a film about it.

And this, my friends, is why I love making documentaries.  As there typically isn’t a lot of money floating around at the start of any project, there exists a terrifying amount of freedom to choose a subject.  It would seem that because of this, most docs are passion projects.  Be it a social issue film like a BORN INTO BROTHELS or a profile like MAN ON WIRE, docs, more than any other medium, seem to be born out of a great idea that grips a filmmaker and won’t let go until the film unspools.  At Copper Pot, we have a running list of doc ideas, but the ones that gain traction do so because one of us is so attached to the story, we need to see it get made.  Often, it doesn’t even start out as an idea for a movie; it’s more along the lines of an email or text saying, “You gotta check this out,” which inevitably leads to the response, “We should make a movie about that.”  Then, for the next year (or few years), we get to become experts in a topic we love.

Granted, there’s not a lot of financial security in docs, so you have to find a way to keep the lights on (Mr. Morris does it through making commercials, we do it by bucket drumming on subways), but if you can find that balance, you’re in for a pretty fascinating life.

Here we go, in no particular order:

Detail Level: Makes the image look sharper.  Pretty straightforward.  This is a great tool, but if it set too high and your project is going to be projected on a large screen (ie. movie theater), the picture will start to have a fake, artificial feel.  On small screens (ie. computer monitors, web videos), the end result will look great.  Another side effect: if you crank up the Detail Level and your picture is noisy/grainy, then the noise and grain will get sharpened too and will be more noticeable.  We’ve used a wide variety of detail levels for different types of shoots, but usually I leave this set to around -4.

V Detail Level: Same idea as Detail Level, makes the image look sharper.  It is slightly more subtle than using Detail Level. I prefer to use the Detail Level setting.

Detail Coring: Noise controller.  The higher it is set, the less noise you’ll see in your image.  This is great to use in conjunction with Detail Level.  The higher you set the Detail Level, the more noise you could get, but Detail Coring can help reduce the noise.  Use it sparingly though, the higher you set it, the softer your image could look.  Skin textures are especially affected.

Skin Tone: DTL: Helps smooth out imperfections on the skin of your subject.  I use this when shooting teenagers (zits!) and also older folks as it smooths out some of the wrinkles.  If you have your Detail Level jacked up, you might want to compensate by turning this function on.  It might help hide some of those wrinkles and blemishes.

Chroma Level: Controls the saturation of your image.  Low setting = less saturation.  High setting = more saturation.  I’ll use this sometimes when shooting exteriors.

Chroma Phase: Works like a tint controller.  This is pretty subtle so you can’t do any crazy color grading in camera but, when set on the low side the colors will shift towards the yellow/greens, when set on the high side the colors will shift towards the purple/magentas.  I don’t use this setting very much.  I prefer to use gels when lighting to get the overall color I want.

Master Pedestal: Contrast control. The higher the setting the more the blacks or dark items in your shot will blend together.  The lower the setting the more the picture will look washed out.  I don’t usually play around with this setting too much.

Knee: This setting helps with overexposed portions of a shot.  It tries to smooth the transition from a properly exposed area to an over exposed area.  I usually don’t use this setting because I like to use CINELIKE gamma settings on our AF100 and, on the Panasonic cameras, those settings disable the Knee function.  But mess around, see what you think.

Color Temp: I really like playing with this setting.  All of you should know about Color Temperature. 5500 degrees Kelvin = Blue, 3200 degrees Kelvin = Orange.  Usually, when shooting outside you can expect temperatures in the 5500 range (depending on time of day), indoors (depending on your light source) you can expect around 3200. I love this setting because you can warm up an exterior shot or you can cool off an interior shot.  You can tweak this setting to get multiple cameras to match up.  You can go crazy and really set a mood and make a scene very cold or very warm.  Have you ever shot an exterior that is supposed to be winter but there is no snow on the ground and it’s a balmy 55 degrees?  Try tweaking this setting so your scene is extra blue.  All of a sudden, your shot feels really cold!  This feature is very handy.

Matrix: These different settings basically tell the camera to process the colors of your shot in slightly different ways.  I tend to use the CINELIKE setting because the colors are the most saturated, but you may also find a use for the FLUO setting, especially if you are shooting under fluorescent lights.  This setting compensates for the green color of the light by removing some of the green from the picture.

With so many post options nowadays, it can be very easy to shoot a scene pretty flat and think, “I’ll really make this look sexy in post.  I’ll jack up the saturation.  Make it really contrasty and moody.”  Well, I’ll tell you one thing, it never looks as good as when you get it to look that way in-camera.  Now, I won’t say you should only go crazy with the camera’s internal settings to achieve your vision.  But I will say that tweaks to the camera’s internal settings, along with creative lighting set ups, can make all the difference.  Be brave wee cinematographers, don’t wait for post!

Then I realized, there is no good place to start, and that by just picking a few topics to talk about in no particular order may be the best way to impart some advice.  So here goes.

So you thought that the movie industry was sexy.  That everything about it would be red carpet and celebrities.  Well, if that bubble hasn’t yet burst for you, let me be the lucky guy to break the news.

The journey of making an independent film, while perhaps noble depending on your content, is by no means very glamorous, especially when you’re getting started.  Let me drive this fact home by talking to you today about making phone calls.

Yup…you read right. Phone calls.

Boring I know, but trust me, if you want to make a movie, you need skills on the phone.  It might not seem like it at first, it might actually feel like the complete opposite, but trust me, developing some phone skills and not being afraid to just pick it up and dial whomever you think can help you out at that particular moment will prove invaluable.

On a daily basis I have to call up people who I don’t know and most of the time I’m asking for help or money or both.  Getting good results with those kind of odds takes some practice and a little bit of guts if it’s not something you’ve done before.  So how can you be effective when picking up the horn?

Step One – Pick it up.  Except for a blackberry in your back pocket, phones don’t dial themselves and even if they do, they rarely call the person you want to speak with.  Muster up the courage and dial the numbers.  Remember, the person you’re trying to reach is most likely a human being.  Even if they’re a big shot executive or someone with crazy deep pockets that can fund your whole movie, they’re just like you.  Maybe a person with a way better job or waaay more money, but still… just like you.

Step Two – Have a plan.  If you’re calling someone it’s because you need them for some reason.  Sounds stupid, but you need to know what that reason is.  If you actually reach the person that you want to talk to, they might actually be ready to talk so you should be too.  Don’t script out your conversation but jot down any notes or questions that you don’t want to forget about.  Also, it’s likely you’ll need more than one conversation to accomplish whatever it is you’re after so be sure to end the conversation with a follow-up plan.  Are you going to call back in a week?  Can you email them the documents?  Should you send smoke signals next Friday?  Whatever the case may be, just make sure you’re both on the same page when the call is coming to a close.

Step 2.5 – Have a plan for leaving a message.  This piggy backs on Step Two.  You don’t want to pull a Paul Rudd in I LOVE YOU MAN and leave a message that makes no sense.  If you get to voice mail and aren’t prepared to leave a message…HANG UP!  Trust me, you’ll do better by calling back next week than leaving a message that makes you look like a bumbling buffoon.  If you are prepared to leave a message, leave them your clear, concise reason for calling, clearly leave your name and clearly leave a number that you can be reached at.  Did I mention this should all be done CLEARLY.  Oh, and after all that prep and clarity to leave the perfect message…don’t expect a call back.  Basically think of voicemails as something that can be referenced when you call them back and hopefully get through to a human.

Step Three – Be nice.  Remember, you’re calling them.  You may not be excited to be spending the day making phone calls but put your smile on, realize what the potential benefits of your labor are and dial.  Also remember that you’re most likely going to have to pass through a gatekeeper if you’re calling anyone significant and gatekeepers like nice callers.

Step Four – Gatekeepers are your friends.  As just mentioned, in Hollywood–or any industry really–when you’re trying to talk to someone of influence that can really help you get your project made, they’ll have someone else answering their phones and you want that person to love you.  Don’t be fake, but understand that the gatekeeper is fielding thousands of other callers like you so put yourself in their shoes.  Ask their name, treat them like a human, thank them for their time, remember them the next time you call, etc.  Realize that this person is the only one that can grant you the access that you want.

Step Five – Be persistent and keep notes.  If you get through on your first try, count yourself lucky but don’t expect it the next time.  Busy people are hard to get a hold of… deal with it.  If it takes 3 calls then it takes 3 calls, if it takes 30 then it takes 30.  Just keep track of when you call and what the result was, like answering machine, left note with assistant, no answer, whatever, so that next time you call, you remember.

I think that’s enough to get you started making productive phone calls to people that can help you make your movie.  Not an exhaustive training by any means but that should get you dialing at least.   Being good on the phone is certainly a skill that falls into the “Practice makes perfect” category so start calling.

In 2011, Copper Pot abided by Mr. Kasem’s advice by keeping our feet on the ground while reaching for the stars.  Specifically, the Leone Stars.

We had longed to return to Sierra Leone since we said goodbye to our friends in April 2008, but we couldn’t ever seem to get it on the books.  Sierra Leone isn’t an easy–or cheap–place to visit.  If there was one thing that was going to get us there, it was the opening of the school.  (Quick refresher for those of you new to the blog: after wrapping production on BROWNSTONES TO RED DIRT, we committed to a campaign to raise enough money to both build a new primary school in Freetown, Sierra Leone and create a library in Bed-Stuy, Brooklyn.)  After three years of working with Schools for Salone, we were told that the school would open in September 2011.  In July, we began seriously considering our return.

As we did, we were also exploring the possibility of making a soccer documentary.  All three of us played the beautiful game at various levels (though it was less beautiful when played by some of us) and wanted to merge our love of soccer and film.  We’d been talking to Major League Soccer star Kei Kamara, who plays for both Sporting Kansas City and the Sierra Leone national team, about maybe profiling him for a short film.  Out of curiousity, we checked the schedule: the Leone Stars would be playing in Freetown just days before our school was scheduled to open.  I’m a planner.  I like to do things in advance.  Way in advance.  But this confluence of events couldn’t be missed.    We had to be in Sierra Leone in September.

I would’ve thought that this year would be remembered by a few things: work on our unannounced, top-secret next documentary and the release of BROWNSTONES TO RED DIRT to the home and educational markets.  Surely, those things made an impression, but, for me, our somewhat impromptu return to Sierra Leone will dominate my memories of 2011.  We had the chance to hang out with the kids from BROWNSTONES, without cameras, and really spend time with them as friends.  I’m eternally grateful for that.  We had a chaotic soccer shoot that included meeting the nation’s president, surviving a near-riot and running onto the pitch with the team, all of which culminated in KEI, a documentary short that I’m extremely proud of and which we expect to hit the festival circuit by early 2012.

It really was a tremendous year for us here at Copper Pot.  We look forward to sharing more adventures–both planned and unplanned–with you next year.

Thanks for your support–and now, my Christmas gift to you: the master recaps the top new acts of 1990.

In the hour-plus Q&A, he touched on all the standard topics: how the Iron Giant came to be, his work on The Simpsons and why Pixar constantly turns out stories that transcend animation.  But, for me, two points stood out.

The first came about when he discussed how he started in the industry.   As a child, Mr. Bird said his parents offered him some simple advice: when trying to break into animation, they told him he should start at the top of the pyramid.  In other words, if Disney was the pinnacle of animation, he should start there.  If they said no, he could work his way down the line, thereby assuring that the first person that said yes to him would be the best caliber talent he could work with.  Of course, Disney said yes and he went on to be mentored by the remaining members of Disney’s Nine Old Men.   It’s a deceptively basic strategy and one I found inspirational.  As Chad often points out to me, the worst someone could say is “no.”  There’s a degree of fearlessness required to work in entertainment and Mr. Bird’s comment was a reminder of how many careers can be derailed by the fear of rejection.

The other bit I took away from Mr. Bird’s Q&A relates somewhat to how Pixar tells stories, but is solid advice for the rest of the entertainment industry.  In referencing a past job, Mr. Bird talked about how he had worked for a studio that had “45 things in development.”  He added, “If you have 45 things in development, you basically have nothing in development.”  That it was almost a throwaway remark is a testament to how deeply story-telling is ingrained in him, but its meaning shouldn’t be lost on any studio that aims to tell meaningful stories, be it a major one like Disney or an independent like Copper Pot.  It was a confirmation from a master that films can’t be made on a whim, rather the ones that last, the ones we can’t forget, are the ones that are made with a singular focus.  When that focus is lost, you wind up with a loosely connected plot with forgettable characters and no heart.

It was refreshing to see that a top filmmaker in his prime can work within the confines of the studio system to create works that will not only reach the masses, but also endure and be loved for generations.

During the semi-finals of the MLS playoffs, Fox Soccer aired a preview of KEI, which you can watch below.

KEI KAMARA: Broadcast from chad walker on Vimeo.

This will be the site of our new blog.   Here you’ll be able to enjoy delicious, wordy morsels of video production goodness written up by Dave, Chad and I.

If you have any comments about the new site, or any questions or feedback in general, we’d love to hear from you.  Email us at info@copperpotpictures.com and follow us on Twitter.

@Copper_Pot
@Dave_LaMattina
@chadnwalker
@clayfrost