The production was a success. It was shown at national sales meeting events, with excellent feedback from the top to the bottom. The production continues to be shown at board meetings and other live events, and is also available for employees’ review.

The greatest challenge was having no existing material to work with, so in order to tell a specific personal story about the company, we had to search through various amounts of stock banks for images to express emotion and be clear in the products created. Because of the nature of the industry, the video had to be particular about what images were shown, making sure they represented exactly what was being talked about. Along with our talented editor, Jeff Hays, I devised ways to create new footage when existing footage was non-existent by finding suitable B-roll. There was absolutely no shooting involved, and the video simply consisted of visuals that told a story along with the voice over.

The experience reminded me that story is key, and the writer we had for the piece (Mitch Logrovitch) set the stage for a successful video. Research was required in order to make the story come to life and prevent it from being merely factual and dry. We present the CDI story in an appropriate but engaging way that seeks to inspire the CDI team.  The video relates to others in that it looks back in time, but the aim was to set this piece apart from other bland video productions. It involves history elements that not only CDI participated in, but that are relevant to the nation at large.

Imagine a snapshot of American history since the 1950’s. The video leaves you with the vibe from that era. The story of a business’s humble beginnings to becoming a successful powerhouse is a dynamic story that many people can relate to and be inspired by.

This spot is uniquely creative, engaging, and universally relevant. As the producer, it was a thrilling process, and even more so when it’s a spot whose success will be measured through its direct impact on the bottom line. Developing DRTV commercials is always an exciting opportunity to speak directly to a target audience and motivate them to take action. Poo-Pourri allowed us to have a lot of fun while tackling a big issue: stinky bathrooms! We produced :30 and :60 spots that identify the bad smelling problem, highlight the features and benefits of the solution – Poo-Pourri, and motivate the viewer to take immediate action: Buy It Now!

Now, for a deeper look into how this spot was produced. There were a few things to consider as we began this project. As you can imagine, with a name like Poo-Pourri, the creative juices were flowing (no pun intended!), but we focused on ways to keep it classy because the main purchasing demographic for the product is women. Also, the video is delivered in two ways, via television spots and in-store kiosks, and each delivery method provides a few challenges to overcome.

First, we worked through a number of ideas on paper before settling on the right approach. These were key steps to get the entire team on the same page before we moved forward.  Next, with a strong creative team and plan for execution, we solved each production and post production challenge as it emerged.

Through solid project management and an engaged client, we produced a dynamic and gently humorous spot that will motivate you to keep your bathroom funk-free, and isn’t that a great outcome?

Go ahead. Take a look at the finished result and comment below:  What’s your worst odor experience? I know I’ve got a few!

The Dallas/Ft. Worth chapter of the American Marketing Association (DFW AMA) wanted to bring back an old tradition of honoring local marketers in the DFW area who rose above and beyond in various marketing categories.  In all, twelve category winners and three overall winners were announced (OK, now!), with Joshua Joseph from the University of Dallas taking the outstanding collegiate marketer honors, Allison Cerra from Alcatel-Lucent winning CMO of the Year and, cue recorded drum roll please… Main Event Entertainment winning the overall Marketer of the Year award.

Event goers, a fine looking bunch of folks, started off with a scrumptious spread of food and drink prior to heading into the glitzy ballroom (yep, we had something to do with that) to find a tantalizing assortment of fine desserts awaiting them on their tables.  There was schmoozing, banter…some of these folks might have tried that with petit fours in their mouths…regardless, fun was had by all.

AMS Pictures staffers Eileen Yedwab and Larry Rodriguez were part of the event committee and used the media company’s corporate event resources to assist with the planning and media needs of the event, and Larry led the team producing the night’s live action.  Larry, a noted connoisseur of desserts, did say “the bite-sized cookie thingies” were divine.

Congratulations to all the finalists and winners!

]]> http://cp.amspictures.com/buzz/and-the-marketer-of-the-year-is/feed/ 0 http://cp.amspictures.com/buzz/av-sync-error-and-what-you-can-do-about-it/ http://cp.amspictures.com/buzz/av-sync-error-and-what-you-can-do-about-it/#comments Wed, 18 Apr 2012 15:45:47 +0000 Brett Harrell http://cp.amspictures.com/?p=4123 I received a call from a friend of a friend looking for technical help.  The caller awkwardly explained that I didn’t know him, but that a family member gave him my number because I could probably help.  Turns out he had just spent several thousand dollars on a new home theater system, and it was unwatchable because the lip sync was off. The problem is A/V Sync error, or “lip flap” as some people like to call it.  It’s…]]>

I received a call from a friend of a friend looking for technical help.  The caller awkwardly explained that I didn’t know him, but that a family member gave him my number because I could probably help.  Turns out he had just spent several thousand dollars on a new home theater system, and it was unwatchable because the lip sync was off.

The problem is A/V Sync error, or “lip flap” as some people like to call it.  It’s where the lips don’t match up with the words you are hearing.  Or when a door slams, and you hear the slam before you see it.  The human brain can tolerate slight variances of video leading audio, and to a lesser extent audio leading video.  However, if the offset becomes too great, the sync issue becomes quite distracting, inhibiting enjoyment of the program or movie.

I have spent many hours both at work, in design of AMS Pictures’ broadcast facility, and with my home setup dealing with this problem and coming up with solutions.  It’s one that is not easily solved because there are many different variables.

This is a somewhat complicated problem that anyone setting up a home theater is likely to face.  Many people are surprised when their new home theater setup has this issue and unfortunately, there currently is not a consumer-friendly cure-all. Still, there are solutions.

Understanding the Problem

The A/V sync problem has plagued broadcasters and consumers since the rise of digital television over the last decade.  The old analog equipment and tube monitors didn’t suffer from this because analog processing happens more or less in real time.  Digital processing by comparison is much slower, and it’s easy for video and audio to become delayed as a result.

A/V sync errors are usually caused by video processing, which causes video delay, which results in audio leading video.  Video is much more complicated than audio and takes longer to process, whether it’s a broadcast converter, or the LCD on your living-room wall.

Complicating matters is that it’s very difficult for a human to detect small amounts of A/V sync errors.  It’s only once the sync offset hits a certain threshold that it suddenly becomes noticeable to most viewers.  For most consumers, lip-sync problems become noticeable when audio leads video by 20 to 40ms.  (Audio delay is typically measured in milliseconds.)  Once accustomed to noticing this, some people can detect very small amounts of error without specialized equipment.

At first glance, it might seem beneficial that small A/V errors are imperceptible.  However, just the opposite is true – as this makes troubleshooting sync issues extremely difficult.  This is because A/V sync errors are cumulative: each device in the chain can increase the error.

The Cumulative Effect

Imagine that a television program is broadcast with a slight A/V sync error where audio leads video by 20ms – which would be unnoticeable to most people and perhaps within the threshold of a station’s Quality Control.  Let’s suppose the decoder in your cable box adds another 10ms of video delay, which again, on its own is an imperceptible amount.  If your LCD screen adds another 30ms of video delay (some screens add more) there is now a total offset of 60ms.   60ms is going to be extremely noticeable and very annoying.

Only with all these components added together does the A/V sync become problematic.

Troubleshooting the root problem of cumulative errors is extremely difficult, since visually inspecting each component of the chain might yield no perceptible problem.  The broadcaster, cable box, and LCD screen each have some error, and each is arguably small enough to ignore and overlook.  It’s only once these elements are combined that a problem becomes apparent.

Hopefully this illustrates why it’s imperative for each device to have precise A/V sync.  Slight errors will compound and eventually be noticed.

Measurement

In the home environment, the primary source of video delay is the projector or the LCD screen.  Features on these displays such as “motion enhancement” usually increase the video delay.  So the amount of video delay introduced will change depending on which options are enabled on your display!  Many screens will also have different amounts of delay when processing 720p (progressive) vs. 1080i (interlaced) sources.

In the broadcast environment, we have tools that accurately measure A/V sync throughout the production process.  Video or audio delay can then be added as needed at the point where an A/V error is introduced.   Probably the only time this would be beneficial to a consumer is if you have a method to delay your audio in precise millisecond adjustments.  And unless you have higher-end A/V equipment, you might not have this level of control.

Solving the Problem

The first step to solving an A/V sync issue is to understand the cumulative effect outlined above.

Many LCD displays have audio inputs and outputs, and will process the audio and delay it by the appropriate amount to compensate for the video delay introduced by the screen.  If the manufacturer has configured this correctly, this will solve the A/V sync issue created by LCD image processing.  To take advantage of this, it’s necessary to feed audio into the display and then feed the audio output into your amplifier.  Most screens will then handle the delay automatically, and the audio delay will self-adjust depending on how the display is processing the video.  This is probably the simplest and most effective way to address most home A/V sync problems.

Unfortunately, it’s not always possible or desirable to route your audio through your LCD screen.  For example, my 60” set does not process 5.1 surround, even though it has digital audio inputs.  Feeding 5.1 in results in 2.0 out – not good for watching movies!

Another option is to use the delay built into your audio amplifier.  Many low-end units have a setting to add audio delay by a fixed amount.  Certain Sony receivers call this “AV SYNC”.   Sometimes this is close enough and provides a simple method to solve the problem.  Higher-end audio amps provide adjustable audio delay, allowing you to precisely match the error caused by your LCD screen.

Sometimes audio delay can be adjusted at the source.  Certain Blu-ray players have this feature, for example.  I use a PC-based media center in my setup, which also allows for precise adjustment of audio delay through software.

Finally, many LCD screens offer a “game” mode that will turn off extraneous video processing, and deliver video to the screen with the least amount of delay possible.  If external audio delay is not possible, using this setting can dramatically improve the problem, although it probably won’t completely solve it.

So What?

Understanding the A/V sync issue is really the key to solving it.  And if you don’t have the equipment to solve it completely, at least you can have the satisfaction of understanding the problem!

Even if you solve the lip sync problem in your home setup, you will still occasionally see programming with these errors.  The technology to automatically solve this for consumer gear is not fully developed.  Until then, most of us will have to settle for close-enough.

Whether it’s getting your children to school on time, a mulit-stage engagement campaign, or anything in between, the answer is probably yes – you manage something. Well, when it comes to Project Management, there are numerous methodologies to follow depending on the type of project at hand.  However, there are some basic tenets to the craft that are always in play.  My favorite being the 5 P’s:  Proper Planning Prevents Poor Performance.  Any Project Manager will back me up on that. (Right?!)

3.  Balance the end product with the cost paid.

This is when you have to start making tough decisions, and they often have to do with cutting resources.  For example, in our initial discussions with the client we had an idea for some visually striking set & staging pieces that would have really popped on camera.  After the budget was finalized, it was clear that those ideas wouldn’t be cost-effective, so we reworked the idea to fit within our budget.

Was it what we had originally envisioned?  No.

Did it have any adverse effects on the end product?  Absolutely not.

Another example is with our new HD multi-cam setup.  The client originally wanted the webcast to be shot in Standard Definition 16×9, but after showing them the minimal increase in costs to film it HD and all of the benefits that come with it, they agreed that approach would be best.  It was clear that the more expensive option was a must to achieve the necessary look.  In other words, it was a cost worth spending.

After an initial site survey, Director of Photography Luisa Mendoza Kirby equipped our team with carefully selected lighting elements. Employing our brand new Sony F3 with the Angeniuex Optimo 17-80 T2.2 lens, the Litepanel LEDs and Kino Flo 4 Bank brought the furniture to life in dazzling HD.

“Initially, we were really challenged with the shot, because the surfaces were very shiny and reflective,” said producer, Tom Rubeck.  “Thanks to Luisa and the team’s pre-production and scouting, we were able to capture the exact look and feel that the client wanted in about seven different areas, two of which required setting up for sound. We had a monitor set-up to review the shots as we went, so that the client could see their vision come to life.”

The VP of Marketing at Cantoni had this to say: “When it came time to do a new TV production, we didn’t think twice about calling AMS Pictures.  We first worked with AMS back in 1997, and though many things have changed over the years, one thing remains the same. AMS Pictures  is awesome.  They always deliver a great final product that makes our brand look incredible!  They are a cool group of individuals in an amazing facility that makes production fun.  I highly recommend them.”

From pre-production through to production and post, the Cantoni spots are a great example of teamwork, preparation and collaboration with the client.  For more great brand work, check out AMS Pictures Commercial Production’s Brand Portfolio.

Tom Greco, President of Frito-Lay North America, shares a heartwarming and sincere message to the national viewership, congratulating both Oklahoma State and Stanford for impressive seasons. He then shares how proud he and the Frito-Lay team are to have their products be a part of American family traditions.  We’re proud of that too.

And what a game it was! Congratulations to Stanford on a great season and to Oklahoma State on an exciting overtime victory, and we hope everyone enjoyed the Tostitos Fiesta Bowl.

This year we decided to have the party our facility here in Dallas.  The event starts with the traditional picture by the tree in town square along with delicious appetizers passed on trays.

Studio A was decked out for all the guests to relax and enjoy while being entertained by a couple of comedian dueling pianos.  They were even able to get some of our guests up on stage to perform and sing for us.  Check out the boys of AMS rockin’ out to YMCA.

And our own Pat Benatar signing “Hit Me With Your Best Shot”…Go Cari!

This year we added a new spin to the party.  About a month before the event, we challenged employees to team up with each other to create a fun, unique and creative holiday video.  And they had to use the plane in the back of the building as a prop, except for the Austin team do to location restrictions.

We had four teams enter and they all did a FABULOUS job!   Check out all the entries here on YouTube!

But in the end there could only be one winning team.   And that was our own Team Christmas Whatever with Randy Martin, Burley Vandergriff and Ryan Sprinkle.  I think it was the sock puppets that put them over the edge!

This is a great time for our employees to mingle and jingle with co-workers and their guests.  And we do it all in the spirit of having a good time for all the hard work we did throughout the year.  2012…Here we come!

AMS Pictures recently purchased a Sony F3 PMW-F3K camera system from Abel Cine in California.  We acquired this versatile camera for a variety of reasons. We have an ever increasing need to shoot with faster cameras. We also appreciate the Sony F3′s ability to control the depth of field, especially when paired with certain lenses, to deliver film-quality picture and sound.

We are pairing our new Sony F3 PMW-F3K with various zoom lenses like the Angenieux Optimo 24-290mm and the short Angenieux 17-80mm zoom lens, Arri Master Primes and the Cooke Panchro/I primes.  We are now using our Hot Rod modified Canon 7D as our second unit camera and on smaller budget productions.  All of these various lenses when paired with the various PL cameras we use allow us to achieve images that represent the depth and breadth of the traditional film cameras.

Prior to 2010, PL digital solutions from Sony and Panasonic that allowed you to use a PL lenses did not exist.  This is also the era in which you saw so many productions switching to the Canon 5D and Canon 7D cameras that have been modified by companies like Hot Rod, allowing you to use PL lenses on the DSLR camera.   We can all remember when we started seeing the images from the modified DSLR cameras, right?  They looked really nice and definitely didn’t have the 2/3” focal plane.  I personally feel the DSLR cameras were one of the great catalysts to help move our digital industry forward.

Now, it’s true you can achieve very nice images with the DSLR cameras but you have to wrap a DSLR with several supporting accessories to make it a useful camera package.  You also have to be very aware of the camera’s innate challenges, like the overheating problems and the limitations of the Canon H.264 format in color correction. Even with some of its issues, we’ve found these to have their place in our workflow. I know several DPs as well as our DPs at AMS Pictures that utilize the DSLR format. They have a clear understanding of the limitations, and they make beautiful images with that camera.  One thing is still true: no matter how advanced digital cameras become, you are still at the limitations of the skilled DP operating that camera.

The key to leveraging the digital camera evolution is to ensure you are testing each format out to truly understand each format’s limitation.  For example, our new Sony F3 PMW-F3K is amazing without a doubt was the right camera for AMS Pictures to purchase at this time, but I would never use the Sony PMW-F3K on a green screen without recording to an external device like the Gemini or the AJA KiPro Mini.  Why? Simply, the MPEG-2 MP@HL, 35 Mbps codec of the Sony F3 PMW-F3K is inferior to our Panasonic AJ-HPX2700 recording format of AVC-Intra 100/AVC-Intra.

So remember, the key to your success in the digital acquisition age comes from experience. Experience comes from extensive testing and hours behind the various digital camera systems to ensure you understand the digital camera you’re using on your production.