UDouglas Spotted Ukhozi
Broadcast Beat’s “NAB Bonisa New York Profiles” are a series of interviews with prominent professionals in the production industry who will be participating in this year’s NAB Bonisa ENew York (Oct. 16-17, 2019).
Njengomlawuli weNkqubo yokuFundela iSundance Media Group, uDouglas Spotted Eagle ngumqeqeshi ophambili weUAS kunye nomcebisi wemizi-mveliso weSundance Media Group kunye neVASST. Ukwayimvumi eyaziwayo, isithethi / nomhlohli ohamba-hamba kwihlabathi, kwaye ubalaseleyo kwimizi-mveliso yevidiyo kunye nevidiyo, ephumelele imbasa yeGrammy kwi2000. Ukongeza, u-Douglas ngumbhali weencwadi ezininzi kunye neeDVD, kwaye uqhubeka nokusebenza njengomcebisi kunye nesikhokelo seevidiyo, abavelisi besoftware, kunye nabasasazi. Ngoku ugxila kumandla akhe kunye namava akhe ngaphakathi kwe-UAV / sUAS (Iinqwelo-moya zeAgency ezingafunekiyo / ishishini elincinci elingafakwanga). UDouglas wayengumseki osebenzayo weSundance Media Group kwi1996.
Ukuhamba ngesibhakabhaka ukusukela kwi2006 kunye nokuyalela i-UAS ukusukela kwi2012, uDouglas ngumfoti wasemoyeni oziphumelelayo kwihlabathi elizaliswe li-adrenaline yevidiyo ekhawulezileyo yokwenza isenzo. Utyunjwe njengoMcebisi woKhuseleko kunye noQeqesho kwilizwe lokuhamba ngenqwelomoya, ulawulo lomngcipheko / ekunciphiseni umbandela wezifundo. UDouglas yiprojekti yomsindo kunye nokulinganisa eneembasa ezininzi zemveliso yakhe; ngolwazi oluphangaleleyo lwee-FMA kunye nee-FSIMs, umbono kaDouglas kukubandakanya iminyaka yakhe yokucinga kunye nokuhamba ngenqwelomoya kwizenzo ezilungileyo kuyo yonke into yedrone / UAV / UAS. UDouglas uyisithethi esihlala rhoqo kwaye ocebisa nge-UAV cinematography, ukuphunyezwa kokhuseleko loluntu kwi-UAS, izicelo zentengiso kunye nezakhiwo ze-UAV, ulawulo lomngcipheko we-UAV, ukuhamba ngenqwelomoya i-UAS ebusuku, iinkqubo zokhuseleko lwasemoyeni, kunye noqeqesho lwe107 ukuqinisekisa ukuba abaqhubi beenqwelo moya bayayiqonda ngokucacileyo imithetho ye-FAA.
I had an opportunity to interview Douglas just before he embarked on a multi-city cross-country production tour from the east to the west coast. I began by asking him when he first became interested in music and who his influences were. “I can’t remember a time when music wasn’t a significant part of my life,” he said. “I was able to take 3 or 4 guitar lessons somewhere around 1970, but it never really gelled. When I turned 12, I discovered the Native American flute, and built my first flute around that age. I was deeply influenced at the time by artists like Jean Luc-Ponty, Tomita, Dan Fogelberg, and Gentle Giant.”
In addition to recording several albums, Douglas’ music career also branched out to film and TV. “My music, being somewhat a standout in a rarified field of flute/jazz combinations, led to ‘needledrops’ [prerecorded music used as background scoring] being used in many television and film projects,” he explained. “My first actual scoring piece didn’t happen until my third or fourth album, and I had the pleasure of working with Brian Keane, who is a multi-Emmy winning producer. He taught me the pain of compiling tracks in a different way than I’d previously done, and he taught me the patience of finite detail. Perhaps the most memorable experience was scoring a documentary on the Sami people of the Scandinavian countries, where I traveled to their location and spent a great deal of time amongst them. One of the tracks was recorded in Benny Andersson’s ABBA studio in Stockholm.”
Douglas has authored several books covering a wide range of subjects. I asked him how he began his writing career. “My goodness….books,” he responded. “I’ve always loved reading. When I was young, we had no electric on the ranch, so books were the only media available. Until recently, my home has been filled with books in every nook and cranny. I’ve written books on cameras, broadcast production technology, CMX editing systems, NLE systems, lighting, DV and HDV codecs, LDS Psychology/Suicide, Drones, Surround Sound, Microphone techniques, Parachuting… 34 books in total. All but one topic center around capturing and exporting great images and/or great audio.”
Douglas also gave me some insight about his work with Sundance Media Group. “I founded Sundance Media Group in 1994 as a means of training producers and musicians to use the new digital recording technology, such as Turtle Beach and Digidesign. I took on a partner a few years later, and in 2012, my partner sold his share to the current majority holder of the company, Jennifer Pidgen. Rebranded as ‘SMG,’ the group now offers nearly 100 classes on topics varying from Audio Production to underwater/ROV photography.”
As mentioned before, Douglas is a highly regarded aerial photographer, so I asked how he became involved with that field. “My sUAS photo/video work grew out of my work as an aerial cinematographer. Whether flying in a Skymaster 210, freefalling, or under canopy, aerial photography fascinates me. In 2010, I discovered this new tool now known as ‘drone, RPAS, sUAS,’ and began to experiment and learn. Not long after, I found myself teaching components of sUAS to broadcasters. In 2016, just prior to the new federal regulations, we created sUAS training standards for broadcasters, and presented it at the 2016 NAB Bonisa. "
Douglas’ contribution to NAB Bonisa New York this October will be a workshop called “Creative Lightning on a Budget,” which will be presented as part of the Post/Production Conference. “My first NAB Bonisa wayekwi1985 njengomntu obekho. Unyaka wam wokuqala njengommeli-nkqubo yayiyi-1997, kwaye bendisenza unyaka nonyaka ukusukela ngelo xesha. Akuthandabuzeki ukuba ulwalamano lwam kunye NAB Bonisa iwuphucule kwaye iwenze umsebenzi wam. Ndaziswa uJames Cameron, uDean Devlin, uJodi Eldred, Sony, I-Panasonic, i-RedRock Micro, i-FoxFury, amakhulu abathengi abasasazayo ngenxa ye NAB Bonisa. It’s one of the most highly-valued institutions in my career, even after 40 years.
“‘Creative Lighting on a Budget’ will show attendees how we have effectively packed a grip van into a single bag that can go into an overhead bin. I’ve carried this system—and similar systems—to Mt. Everest, many reservations, and other places where power is either not available, or not viable in quantity. I will demonstrate how cost-effective micro-lighting is an affordable—yet without compromise—means of lighting for small set, interview, corporate event, etc. The target audience is anyone who is involved in ‘predator’—producer-editor—roles, run n’ gun documentaries, corporate interviews, talking heads, or users of small-area video or photo production lighting systems.”
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