What I learned about working with a small production footprint: Introduction
Now that Solar Odyssey is over for me, I thought it was a good time to look back at the equipment choices and whether or not I’d make the same choices again. As it turned out, I ended up producing a different show than the one that I was preparing for, which was largely based on a solar powered boat. As it turned out, we never tested the workflow on the boat (as we never actually got on the boat).
The show I planned for, was based on the solar vessel, Ra, with side trips to environmental and other attractions along the journey around America’s Great Loop Waterway. The show I ultimately produced was “The Road to Ra” – the story of how Jim Greer and his friends got Ra built at A&M Pontoons in Old Town Florida, and the journey from there down to New Port Richey, and on to Clearwater, ready to start the odyssey.
So, instead of producing within a relatively stable environment we were shooting in a boatyard, and on an unfinished boat weathering damage, storms and other adventures just getting to the starting line for the Solar Odyssey. This changes the gear choices I’d have made, so here are my observations – in a series of posts – of what worked and what did not work (for me).
Expect posts on:
- Lighting and Grip Kit
- Final Cut Pro X
- The inevitable flying camera
- The Sundry lessons from the road.