Adult-ing

It's a Monday morning after a busy few weeks of travel/work and an even busier weekend with family stuff. It feels like the first time in a while I'm able to come up for air, even if it's a short time before diving into other deadlines. Speaking of, it's tax season so I'm also hustling to finish up on what my CPA needs to finish out 2019.

Surely this is normal, but I'm constantly thinking about what it means to be an adult. I could be wrong, but I'd assume Saint Anne the Wife and I are candidates. It's not like you hit a specified marker and "bam!" you're a full-grown adult. She and I are both racing towards 40 yrs old too and good Lord that's odd.

We're in that spot where we've got our professional responsibilities while also crazy busy doing family stuff. Our older boy had his first sleep over at a friend's house Friday night, two back-to-back birthday parties on Saturday, and then another event Sunday after church. Our two year old is still in drunk octopus mode so we're fighting to stay above water and not let him drag us into the abyss. How self-employed creatives in this time in life are able to juggle paid work, family responsibilities, and any kind of personal work baffles me.

My parents were both in their 30s when I showed up and absolutely remember being in the kitchen with my mom while she was making my dad's 40th birthday cake. I was in childcare and school obviously, but they also took me to work with them and I never thought anything about it. My mom was a teacher and it seems like I was always with her at school or professional conferences she taught during the summers. When I was younger, my dad worked for a group in Texas and we made quite a few family trips to Dallas for his work stuff. He was self-employed when I got older with several retail stores in the Oklahoma City metro. By the time I was in third grade I was running a cash register and making spending money by keeping vending machines in his stores full, mowing around the properties, and cleaning up the warehouses. When I was old enough to drive, I was reselling wooden pallets and making deliveries. Pretty sure that time was very much a part of who I am today.

My boys are still too young for manual labor, but you'd better believe they'll be hauling my camera gear around soon enough. With me being out and crazy busy the week before, Anne had some much needed alone time last Saturday while I was out with both boys picking up gear before the next job. It was basically us getting in and out of hired cars with me holding our two year old in one arm, a large Pelican case in the other, and making sure our older boy kept up. Anne's current school is far enough away to feel like it's on another planet so I doubt the boys will ever spend much time there. Back in Oklahoma she shuttled them to and from school/childcare every morning, but I'm running that show at the moment. It's a mad dash at times when I have a job come in and we have to make arrangements with other people to get our kids to and from where they need to be.

It's a weird season but absolutely part of the deal. I'm thankful for my parents for doing what they had to do and only now honestly be able to somewhat appreciate it. I'm still not sure I'm an adult, but I feel like I'm getting better at it.

Travel Week - Oklahoma City

Don't tell me what I already know; it's Wednesday and I'm two days late. It's a travel week for work stuff and I've been hustling around doing the thing. Last week had me on another shoot and (thankfully) working seven days straight only to jump on a plane the next day and head out on the next project. Have I mentioned that my wife is a Saint?

I'm back in Oklahoma City this week working again with one of my oldest clients, Cryder Marketing + Advertising. I met Sterling Cryder back in 2011 over a beer in our neighbor's backyard right as we both were getting started and we've been working together ever since. I've been busting my tail to make new connections in NYC, but I'm crazy thankful for the clients I still get to work with back in Oklahoma. Bonus points too for getting a chance to spend some time with my parents while I'm in town.

Surely I'll talk more about it later, but this week I'm doing some documentary work for Cryder and their client, Central Oklahoma Habitat for Humanity. We've already filmed two of our stories and I've got one more to go before heading back to New York early Thursday morning.

Vevo Lift Live Sessions: YUNGBLUD & Kiana Ledé

Had to double check to see if I'd posted about these yet, but one of my favorite shoots in the last few months was the Vevo Lift Live Sessions featuring YUNGBLUD & Kiana Ledé. Both shows were filmed one night last October here in Brooklyn with Vevo, Contrast Films, and a small army of crazy talented creatives.

Honestly felt like I had the best seat in the house seeing as how I was cam op'ing the Alexa Mini right at the tip of the stage. Both YUNGBLUD & Kiana Ledé were fantastic on stage and we couldn’t have asked for better resources in capturing the performances. We were all on either Alexa Minis or Amiras and taking direction from Vevo's Micah Bickham via headsets.

LSU with HSC.tv

Normally the first part of the year is dreadfully slow, but thankfully January is looking to be a busy month. This past week I spent a couple days in Baton Rouge, LA with HSC.tv shooting an interview for the 2020 College Football National Championship.

HSC had two crews shooting different content at the same time at the LSU football practice facility. The main crew was shooting multiple interviews in the LSU Football Trophy room while we were covering an interview with ESPN's Kirk Herbstreit and LSU's Heisman Trophy winning quarterback Joe Burrow. Pretty sure we all flew with a carry-on of HSC gear (camera bodies & batteries) plus something like 18 checked bags.

We shot the interview with two Arri Amiras, a Mini on a Movi setup, and the reverse angle was on a Panasonic EVA. Not sure of the lights we used, but they were HSC's and the local gaffer and key grip were great. Originally we were supposed to only have 30 minutes total with Joe Burrow and needed to shoot the interview, a walk and talk down a hallway, and footage of the two talking and playing catch on the indoor practice field. Our main DP, Brian (TwZ) Brousseau, had us set our color temps to the lighting on practice field and then gel our main HMI light for the interview to match the color. Pretty sure that was the first time I'd gone that route and it worked out great. We ended up getting a bit more time, but I'm crazy glad we planned and rehearsed ahead of time to find and work out potential problems ahead of time.

We did have an issue getting enough exposure in the interview without going above 800 ISO on the Amira and Canon 17-120mm lens pair. The lens for the wide shot was able to open up to T2.95, but the lens ramps up to a T3.9 and we were at the end of the zoom for the tight shot. We were maxed out on the light output to begin with considering how high it had to be in order to not be in the reverse shot. Then we lost more output considering the gels we used to match the color temperature in the practice facility. We were able to dial in the setup to get the exposure we needed then had to add a black wrap scoop at the bottom of the light so we'd not blow out the seats directly in front of our interview.

It's always crazy to me how many views these projects get. By the time this post goes up this video will already have had nearly 106k views. Absolutely grateful I got to be a very small part of it.

Happy New Year

Woof... 2020 is already off to a roaring start. It's after 10a on the first Monday of the year and I'm totally fine knowing I blew that first deadline. Maybe not an ideal start to the year, but you're not the boss of me (unless you are).

Know that I've spent the last couple weeks running around with a stills camera, doing family stuff, and baking way more sourdough bread than I care to admit. Oh, and also prepping for what should be a crazy busy January. I'm supposed to be leaving town tomorrow for my first shoot of the year then a few more projects before the end of the month.

I've also spent some time these last couple weeks trying to look ahead to the year to come. The last couple weeks of each December usually have me looking back at the year and the goals I'd set. 2019 was going to be tough anyway, but still I'd set some lofty goals. Some were met but quite a few were clearly missed. More than anything I knew professionally it'd be a year of trying to get my feet under me as a freelancer in a completely new market. Personally 2019 pretty much left me bruised and bloody, but stronger for what's next.

I'm nearly done reading my first book of the year, and as per usual, I'm able to (most likely) take it out of context and apply it to my situation.

"To act is to be committed, and to be committed is to be in danger."

"I do not mean to be sentimental about suffering – enough is certainly as good as a feast – but people who cannot suffer can never grow up, can never discover who they are." James Baldwin, The Fire Next Time

Winter Break

Short of something magical happening I’m gonna pause the blog the next couple weeks for a sorta “winter break.” Work normally slows down this time of year and the anxiety of not working ends up adding to the already stressful holiday season that I’m not a fan of to begin with. Seriously, we don’t need to add anything else to our plate this time of year.

Ideally we’d be holed up in a cabin somewhere in the woods with enough food and firewood to quietly and peacefully ring in the New Year. Our kids would sleep past 5:30a and the laundry would do itself. We’d not have internet access and the world would be run by responsible people valuing others more than themselves. But, we all know better.

Eat well with people you love. Sleep in (and try to convince your kids to as well). Be nice to people, especially strangers. Pet a dog. Happy Holidays yo.

Take Notes and Have a Second Monitor

Had an opportunity this past week to DP for a director I'd met earlier this year. We'd stayed in touch and a few weeks ago he and his producer reached out about a corporate project. It'd be a straight forward internal project for one of their corporate clients with employee interviews and b-roll. We'd planned on shooting with one camera but ended up adding a second to help with the interview edits. Camera-wise, we'd be on two RED Weapon Heliums with Cooke S4 lenses shooting 4k ProRes for the interviews and .r3d files for our b-roll.

The shoot was broken up over two days. We had a dedicated room for our interviews, but due to scheduling we'd need to clear the space at the end of each day. Surely this isn't rocket science and I'm not sure where I'd picked it up, but one of my go-tos is taking panorama photos of the setups from multiple angles in the room with my iPhone or iPad. I'll take those photos into the GoodNotes app on my iPad and write down whatever notes I'll end up needing. Typically I'll include the measurements as to where cameras, lights, and interview chairs will be as well as any kind of camera (T-stops, filters, ISO, color temps, etc) and lighting information (color temp, intensity, etc.). Obviously this was key in keeping consistent the second day with interview setup.

Also, it was the first time I'd worked with the AC and my camera package, so it was helpful (to me at least) to be able to send him my gear and a photo of how it's all packed. Helpful too being able to check each item off as it was re-packed and back in its place following the shoot.

Also, in having a two camera setup I was able to have two SmallHD 702s mounted to my camera setup (tight shot with a 100mm) so I could monitor both cameras while also operating one. The wide shot was on a 50mm at a T4 and the interviewee was seated at 10'-13'-ish from the camera so I wasn't worried about losing focus if they moved around a bit. This ended up saving our tails at one point because we had a power failure on the wide shot, I caught the problem immediately, and we were able to pause the interview. Having the two monitors side by side was also helpful in being able to judge both camera exposures from one place vs. running back and forth between cameras while the gaffer and swing made adjustments. We did have a larger client monitor with both camera feeds, but that lived in another room. Crazy thanks to the crew for making sure everything went smooth.

DP: Tanner Herriott
AC: Ryan Nocella
GAFFER: Rob Bevis
SWING: Andrew Landreville

Elena Goddard - "Energy"

"Hello again. The song we've already done a video to, has another part to it - the non-ballad version, that will be released back to back. If you're around in the next month or so, I'd love to shoot something for this with a very dark dramatic theme (opposite of our ballady beach shoot)." - Elena Goddard 8/20/2019

The fact that these things ever even see the light of day still amazes me. I know I'd read someone else mention something similar about putting out personal work, but good lord the time, effort, and resources going into this kind of nonsense is mind-blowing. This is the third music video I've done with [Elena Goddard][1] now and by far my favorite, but unquestionably the most difficult one to pull off. Literally to the VERY last minute before she had her YouTube channel premiere we were running into problems.

WRITTEN & PERFORMED BY: Elena Goddard
DIRECTOR/DP/EDIT: me
CAMERA ASSISTANT: Kyle Vines
MAKEOUT BUDDY: Elias Abraham
PRODUCTION ASSISTANT: Lillian Maslen

Originally we'd talked about shooting something much more simple in a graffitied bathroom we'd found in a bar on our side of Brooklyn. It'd probably have been easier to go in that direction, but nooooo... I figured we should go for something more.

Her song is about loving someone but knowing the time wasn't right and that she'd need to let them go. I had her find a makeout buddy and figured we could film with the two of them a bit, get some singles of her in the places they used to frequent, and then land some takes of her performing the song. That was the plan at least. Here's the lookbook/treatment if you're up to check it out.

The first reference Elena sent over was the Break My Broken Heart video by Winona Oak and she liked the idea of colored lighting. I knew we'd be short on time, crew, and we'd not have access to power at our locations, so for sure we'd need battery-powered lights. This past year I've had a few chances to work with the Astera Titans and knew they'd work for the colors we'd want plus they're battery-powered.

Elena isn't signed to a label so she's footing the bill for these projects. We had my camera and lens package and a $400 budget. I rented a car that doubled as our picture car and a means to get gear around, two 4' Astera Titans and some misc. grip from Lightbulb Grip & Electric, plus a couple of Gold Mount batteries and a Smoque filter from a buddy of mine named Dave Adams. I was also able to snag Kyle Vines again to AC on the project at a crazy discounted rate. I swear one day I'll be able to have him pull focus so I don't embarrass myself with soft footage making the edit.

Originally we'd talked about shooting something much more simple in a graffitied bathroom we'd found in a bar on our side of Brooklyn. It'd probably have been easier to go in that direction, but nooooo... I figured we should go for something more.

Her song is about loving someone but knowing the time wasn't right and that she'd need to let them go. I had her find a makeout buddy and figured we could film with the two of them a bit, get some singles of her in the places they used to frequent, and then land some takes of her performing the song. That was the plan at least. Here's the lookbook/treatment if you're up to check it out.

The first reference Elena sent over was the Break My Broken Heart video by Winona Oak and she liked the idea of colored lighting. I knew we'd be short on time, crew, and we'd not have access to power at our locations, so for sure we'd need battery-powered lights. This past year I've had a few chances to work with the Astera Titans and knew they'd work for the colors we'd want plus they're battery-powered.

Elena isn't signed to a label so she's footing the bill for these projects. We had my camera and lens package and a $400 budget. I rented a car that'd double as our picture car and a means to get gear around, two 4' Astera Titan LED tubes and some misc. grip from Lightbulb Grip & Electric, plus a couple of Gold Mount batteries and a Smoque filter from a buddy of mine named Dave Adams. I was also able to snag Kyle Vines again to AC on the project at a crazy discounted rate. I swear one day I'll be able to have him pull focus so I don't embarrass myself with soft footage making the edit.

There were a few happy accidents too. By far my favorite shot is Elena singing in the backseat of the car. I'd picked the spot in advance knowing the existing lighting would get us pretty far. I'd just need to add the red accent on camera right and augment the levels coming in on camera left. We were shooting near the base of an above-ground section of the subway and during our first take we had a train come by. The interior lights of the train made some great-looking reflections on the car windows. We also lucked out with some cars driving by during one of the make-out shots and a couple of her performance takes near the wall. Honestly, we didn't have the resources to add much intentional motion to our footage so the happy accidents adding some subtle on-screen movement were by all means welcomed.

Margin & Process

So I had this whole thing written up about trying to “create from margin” and how I’ve started taking detailed records of how my days break down to see where the time goes. I spent several hours trying to refine the idea and even used the phrase “neglecting my core revenue engine.” Honestly that hot mess was a pretentious complaint about wanting to be shooting more but being busy with other responsibilities.

So instead here’s some stills from a couple hours this last week in between appointments. Plus there’s a YouTube video from a street photog about his process.

Couldn't tell you how I came across Sean Tucker's and his YouTube channel, but I appreciate what he has to say about his street photography process. Absolutely dug seeing him go through his digital contact sheets to show how he processed and worked to get a usuable shot.

Changes and Consistency

Big changes for the Herriott household this past week. Saint Anne the Wife landed a full-time teaching job in Brooklyn. She's been a stay-at-home mom this past year and now leaves the apartment before I do each morning. I was in Dallas this past week on a shoot and my mom was in town to help out. This morning was the first run at our new schedule and I did my best in trying to get everyone to where they needed to be on time before getting into my work day. Looking back through my 2019 business records I was out of town for work 45 days and absolutely know I didn't appreciate enough all that she did while I'm out trying to do the thing.

By all means there's an incredible amount involved in trying to become an adult human, especially one that has children. You hear and see things before hand from your parents, other adults, and your friends, but there's nothing like actually trying to do it yourself. Dear God please don't let us raise monsters.

I'd started keeping a weekly blog in hopes of forcing myself to make something on a regular basis. I saw false deadlines as a means to continue improving on whatever it was I was trying to do, but there's certainly times where I'm absolutely phoning it in at the very last minute and usually past my self-imposed deadline. Still it's very much part of my weekly schedule and by all means an extension of my more personal daily journaling. I'd absolutely love to be posting more about the cinematography and filmmaking work I'm doing, but there's not always fuel to keep that engine running. Most of my time is spent reading, writing, and reaching out to people in hopes of building and maintaining a community of creatives so I can continue to do the thing.

Speaking of reading, I'm nearly half-way through Richard Thaler's Misbehaving: The Making of Behavioral Economics. I try to bounce between different book genres and this round has me into behavioral economics. Can't say the topic will help me become a better cinematographer, but good grief there's some solid ideas in terms of how I run my freelancing. Hopefully I'll be able to distill and apply some of it to how I do the thing.

"Behavioral economics...is still economics, but it is economics done with strong injections of good psychology and other social sciences."

"Businesses are catching on as well, realizing that a deeper understanding of human behavior is every bit as important to running a successful business as is an understanding of financial statements and operations management." - Richard Thaler

Oh, and there's this hot mess from The New York Times Magazine this past weekend: "Even Nobodies Have Fans Now." The whole idea of parasocial relationships is fascinating and by all means had me take a few steps back after reading the article.