#coordinating riders and artist schedules

[fairy-ganj-mother]

as much as I'm jaded by the edm scene now, I miss throwing shows and being involved in the planning and logistics and the rush of pulling it off and connecting with artists and feeling responsible

[downstageent]

Artist Booking Agency in New York: Downstage Entertainment for Live Entertainment Needs

New York City is a global hub for live entertainment, drawing audiences from around the world to experience everything from intimate jazz performances to large-scale concerts. At the heart of these performances are artist booking agencies, essential in connecting event organizers with top talent. One standout in this dynamic industry is Downstage Entertainment, a premier artist booking agency in new york that specializes in providing a seamless booking experience for live entertainment.

What is Downstage Entertainment:-

Downstage Entertainment is a New York-based artist booking agency that excels in securing top talent for various events, including corporate gatherings, weddings, festivals, private parties, and large public events. Known for its extensive roster of talented performers, Downstage Entertainment matches clients with artists tailored to their specific event needs, ensuring memorable experiences.

Why Choose Downstage Entertainment:-

Downstage Entertainment is dedicated to making artist booking simple, offering an end-to-end service that takes the guesswork out of event planning. Here are some reasons why Downstage Entertainment stands out in the crowded Live Entertainment Artists Booking Agency Nyc scene.

Diverse Artist Roster: Downstage Entertainment boasts a vast array of artists across genres, from live bands, solo musicians, and DJs to comedians, magicians, and specialty acts. This diversity allows clients to find the perfect fit, whether they’re looking for jazz musicians to enhance a formal dinner or a high-energy pop band for a lively wedding reception.

Expert Talent Matching: One of Downstage’s strengths is its attention to detail in matching talent to each event's unique requirements. Their team takes the time to understand the event's theme, audience preferences, and budget, ensuring that the selected artist aligns perfectly with the client's vision. This level of customization adds an extra layer of professionalism and quality to events.

Seamless Booking Process: Booking an artist involves numerous logistics, from contracts and rider requirements to schedule coordination. Downstage Entertainment handles every step of the process, providing clients with a stress-free experience. By working closely with both the artist and the client, they ensure that all details are in place for a smooth performance.

Industry Expertise: As an established booking agency in NYC, Downstage Entertainment has extensive knowledge of the entertainment industry, from trends and popular acts to emerging talent. This expertise allows them to recommend artists who not only meet the event's needs but also add fresh and innovative elements to the experience.

How Downstage Entertainment Elevates Live Events:-

With Downstage Entertainment, clients have access to some of the best performers in New York and beyond. The agency’s team goes beyond simply booking talent; they invest in understanding the event’s purpose and audience to create unforgettable moments. They have experience catering to a wide range of event types, including.

Corporate Events: Downstage Entertainment offers artists who are skilled at engaging corporate audiences, providing a sophisticated atmosphere with acts like jazz ensembles, keynote speakers, and live bands suitable for corporate galas and awards ceremonies.

Weddings and Private Parties: For more personal occasions, Downstage helps couples and hosts find artists who add warmth, energy, or romance to their special day, from live string quartets to upbeat dance bands.

Festivals and Public Events: Downstage Entertainment’s connections to popular acts make them a top choice for large-scale events, where crowd engagement and entertainment quality are paramount.

Conclusion:-

For anyone planning an event in NYC, Downstage Entertainment offers unmatched expertise in artist booking, taking the hassle out of finding the right talent and ensuring a memorable experience for all attendees. With a commitment to quality and a reputation for excellence, Downstage Entertainment stands as a go-to agency for live entertainment in New York City. Whether you're hosting a private gathering or planning a large public celebration, Downstage Entertainment has the resources and expertise to turn your vision into a stunning reality.

[ahamedsinternblog]

Early Preparations – The Art of Flexibility (CHOPPA)

Before the lights, the sound checks, and the performances, the real work for Choppa started weeks in advance. Honestly, it was a grind. Being the assistant production manager meant I was deep into every little detail—way before the first act even stepped on stage. The reality is, events like this don’t just happen; they’re the result of weeks of coordination, planning, and endless back-and-forth conversations. And let me tell you, those conversations were constant.

One of my biggest jobs early on was chasing Rhei down for tech riders from the artists. On paper, it sounds straightforward—get a list of what each performer needs, lock it in, and move on. But no, it was never that simple. Artists were slow to respond, or they’d change their requirements at the last minute, which threw a wrench into our equipment planning. I had to ask Rhei to constantly follow up, push for deadlines, and adjust our logistics every time something shifted. It was a juggling act, and I quickly learned that staying organized and communicating clearly is everything in this kind of role.

Beyond the tech riders, there was the equipment itself. We had to coordinate with SIA Theatre and Herman to make sure we had every piece of gear we needed—speakers, consoles, projectors, haze machines—the whole works. I spent hours with Ray going over inventory lists and sketching out the stage layout. Facilities had to be looped in, too, especially when it came to using the haze machine during Choppa week. Every single thing had to be confirmed ahead of time, or we risked running into last-minute chaos.

And then there was social media. When the people in charge couldn’t get the content done on time, I had to step in. I worked with Rhei, and we brainstormed multiple versions of social media posts to make sure we stayed on schedule. It wasn’t originally my job, but hey, someone had to do it. At the end of the day, I realized that adaptability was going to be key if we were going to pull off this event smoothly.

Looking Back

If I’ve learned anything from the prep work, it’s that attention to detail is everything. You can’t just “wing it” with this stuff. Every little thing—every cable, every piece of gear—had to be accounted for. I found that the earlier I caught potential issues, the easier it was to handle them. Weeks before Choppa even started, I was already solving problems that could’ve become huge disasters if left until the last minute.

At the time, it felt like I was drowning in spreadsheets and emails, but looking back, I realize how much all that groundwork paid off. The success of an event like Choppa isn’t just about what happens on the day—it’s built on all the effort you put in behind the scenes. And honestly? It felt pretty rewarding to see everything come together, knowing that the prep work we did early on made the rest of the process smoother.

[peekbackstage]

Thank you so much for sharing your insights! I have a question, its regarding safety for ggdd whenever they are travelling between hotels/venues/airports. Aside from security staff protecting them, given how China is strict on public conduct, how is it that fans can ignore/bypass security measures? Especially airports, you get checked before entering but some fans just nope thru. They also wait at hotels prior, is the location leaked each time? Also at event rehearsals. Do they not get caught?

One of the scariest things I discovered when I started to go on tour with idols is just how unethical people can be. The reason why fans often can figure out schedules is because information such as airline bookings and hotels get leaked by airline or hospitality staff, especially if artists are flying on commercial airlines.

While one might think “Why can’t you just use a fake name?” for hotels, the fact of the matter remains that usually when booking large groups at hotels, you have to contact the entertainment manager for the hotel to negotiate a group deal. If there is additional security measures that you have to put into place to coordinate with the hotel’s security, that also has to be taken into account. Because of this, when routing a tour and booking hotels, you can’t lie to the entertainment manager about who you’re booking - especially because you have to send ahead a hospitality rider. And while the entertainment manager might not be the one who is responsible for the leak, when the hotel briefs their staff on what to expect, the game plan, etc. inevitably, lower level staff find out the details of who will be arriving. (For the record: we do put fake names into the system for the artists, but we don’t lie to the hotel when booking said rooms.)

Fans catch wind of these details sometimes weeks in advance because hotels and airlines are booked far in advance. As a result, at airports, fans can actually book flights to try and get into the terminal and bypass security. (Normally, the majority of fans actually wait outside the gates for the artists.) Fans also can catch wind by following various paparazzi that follow the artist and post about their movements - which is how fans find out about hotels or the fact that an artist is taking a flight. (And then they can arrive at the arrival airport around the time the flight lands to “greet” the artist.)

I have experienced some pretty weird shit like fans finding out artist movements and booking the same flight, or stalking the artist to the gate if the artist wanted to wait in public at the gate with their staff. (For this reason, we usually bring the artist into the first class lounges to wait.)�� 

The only way to 100% deter fans is to fly on private planes that will allow cars to meet the plane on the tarmac while deboarding. 

[gigslist]

6 Production Jobs at Golden Voice

PRODUCTION STAFF - GOLDENVOICE SF

Goldenvoice

San Francisco, CA

Production - Event

Part Time

AEGLV3929

AEG Worldwide is the world’s leading sports and live entertainment company with operations in the following business segments:

AEG Presents, which is one of the largest live music companies in the world dedicated to live contemporary music performances, including producing and promoting global and regional concert tours, music events and world-renowned festivals

AEG Sports, which is the world’s largest operator of sports franchises and high-profile sporting events

AEG Global Partnerships, which supports each of AEG’s divisions through worldwide sales and servicing of sponsorships including naming rights, premium seating and other strategic partnerships

AEG Real Estate, which develops major sports and entertainment districts worldwide

With offices on five continents, the company uses its global network of venues, portfolio of powerful sports and music brands, ticketing and content distribution platforms and its integrated entertainment districts to deliver the most creative and innovative live sports and entertainment experiences that inspire athletes, teams, artists and fans.

 PRODUCTION STAFF

PRODUCTION COORDINATOR - AUDIO/LIGHTING

PRODUCTION RIGGER

PRODUCTION RUNNER

PRODUCTION MANAGER

SPOTLIGHT OPERATOR

STAGEHAND

STAGE MANAGER

 1. PRODUCTION COORDINATOR - AUDIO/LIGHTING

The Production Coordinator will assist in all areas of production for events. The Production Coordinator will serve as the main point of contact for shows, communicating with staff, vendors, security and artist management. Additionally, the position is responsible for coordinating and advancing production needs and requirements for all shows, and oversees all stage and technical needs including lighting, sound, A/V, equipment and venue maintenance.

PRIMARY RESPONSIBILITIES

Responsible for set up, operation and maintenance of venue lighting system.

Operate lights during shows configuring color and tone to ensure artist’s vision and mood are achieved.

Responsible for set up, operation and maintenance of venue sound system.

Operate sound system during shows and confirm that microphones and speakers are functioning.

Serve as back-up for A/V and PA systems.

Responsible for set up, operation and maintenance of A/V system.

Maintain the public announcement system in optimal working condition.

Venue maintenance including lighting, sound, stage and equipment.

Responsible for stage maintenance: sweep, mop, paint touch-ups on flooring as needed throughout the year and buff and paint entire floor once a year.

Responsible for set up and break down of equipment on stage.

Load/unload equipment from trucks and set up equipment according to stage design while ensuring safety requirements are met.

May be responsible for production and operations aspects including vendor end-to-end onsite set up: exhibitor registration and follow-up survey.

Serve as the primary liaison between vendors, artists, sounds crews, and property management companies in execution of shows and events.

QUALIFICATIONS

A minimum education level of: High School Diploma or its equivalency (Bachelor of Arts/Sciences Degree Preferred)

2-4 years of related work experience

Ability operate light and sound systems and plan for live production events

Working knowledge of stand tools and equipment of the trade

Ability to maintain effective working relationships

Strong listening and verbal communication skills

Computer literate and proficient in MS Office Professional Suite (Outlook, Excel, Word)

Experience working at festivals

Able to work various hours: nights, weekends, and holidays as required

Experience with music industry preferred

 2. PRODUCTION RIGGER

SUMMARY

The Production Rigger will be responsible for safely aligning, leveling, and anchoring all equipment and adhering to the weight capacities of rigging points of the venue. In addition, this position will control the movement of equipment and ensure that all audio, video, and lighting equipment are functional and reliable prior to the show. 

PRIMARY RESPONSIBILITIES

Responsible for safely aligning, leveling, and anchoring equipment (i.e. audio, video, lighting, aerial harnesses, etc.) from fixed points in the ceiling or truss structures and controlling the movement of the equipment.

Responsible for adhering to the weight capacities and stress limits of rigging points, motors, and other rigging equipment.

Responsible for testing all functionality and reliability of rigging prior to the show and ensure the safety of all gear, equipment, staff and people at the event.

Maintain work area for events while ensuring adherence to all SFFD, OSHA, and ADA requirements in addition to the safety of all local and touring staff, artists, patrons with respect to all production elements.

QUALIFICATIONS

A minimum education level of: High School Diploma or its equivalency

A minimum of 1-2 years of related work experience.

Must demonstrate rigging proficiency either through union membership or third-party certification.

Knowledge of OSHA/ADA laws and regulations.

Must be able to take direction and execute instructions accurately.

Good interpersonal and communication skills.

Strong attention to detail.

Ability to work in a fast-paced environment.

 3. PRODUCTION RUNNER

SUMMARY

The Production Runner is responsible for assisting and transporting event materials to and from the venue or event in a safe and efficient manner. This position is the “go to” person for various production and artist requests to fulfill production needs and the artist rider.  

PRIMARY RESPONSIBILITIES

Collect, transport, and deliver equipment, supplies, and materials to and from the venue.

Run various errands by foot, bike, vehicle, or public transportation at various distances.

Make purchases for the show and venue as needed for event needs as directed by the production manager or supervisor.

Assist the production office with administrative duties including making signage, drafting correspondence, and taking inventory.

Perform other various duties as required or requested from supervisor to fulfill show needs and artist rider.

QUALIFICATIONS

A minimum education level of: High School Diploma or its equivalency

A minimum of 1-2 years of related work experience

Must be able to take direction and execute instruction accurately

Must have valid driver’s license if venue location requires driving

Excellent communication and interpersonal skills

May be required to drive a rented or company vehicle and must meet state requirements regarding rental vehicles

Previous live music production experience is a plus

 4. PRODUCTION MANAGER

SUMMARY

The Manager Production advances all event details for all shows. The Production Manager will be responsible for the production team and to set a plan in motion to execute the show as per the agreed terms in the contract.  The Production Manager will adhere to a budget to ensure all costs are being tracked and monitored. They will ensure that all the needs of the show and performer are met. 

PRIMARY RESPONSIBILITIES

Liaison between venue and artist to ensure all production needs are met and the contract is being adhered to.

Work with talent buyer and artist to work out a tour schedule, build offers and create show budget.

Work closely with the venue to make sure everything is in working order and that all the show needs are being addressed and met.

Responsible for solving any production issues that may arise at any given point in the show timeline.

Develop and foster relationships with artist, tour crew, artist management, venues and other important personnel to ensure streamlined communication and successful execution of each show on tour.

Set a workable budget for the show and make sure all the expenses are being tracked and are within the limits of spending.

Oversee the load in and load out of the show from artists, vendors and all that apply.

In addition to managing production crew by interfacing and making production arrangements with local labor vendors, creating production crew schedules, diffusing employee relation situations and conflict resolution, review, approve and submit payroll for production staff.

May be responsible for show settlement after the show has concluded.

Makes sure that artist(s) and venue are paid accordingly.

The Production Manager will also close out the show and submit all pertinent information to accounting.

May also be responsible for hiring local labor, rentals and other show needs.

May be responsible for production management and logistics at other locations, venues, or projects within the venue as directed.

QUALIFICATIONS

A minimum education level of: Bachelor of Arts/Sciences Degree (4-year) in a related field

3-5 years of related work experience

Working knowledge of technical aspects of concert production

Ability to solve logistical and technical problems including staging, lighting, sound

Ability to create and maintain budgets for events

Proficient in Microsoft Office Suite (Word, Excel, Outlook); and ability to learn required business systems

Previous management experience with an emphasis on resolution management

Works well under pressure and in a fast paced environment

Experience interpreting event contracts and developing accurate production budgets

Must be extremely flexible to work long hours, nights, weekends and holidays

Experience working in music industry preferred

 5. SPOTLIGHT OPERATOR

SUMMARY Under the direction of the Stage Manager, the Spotlight Operator will be responsible for the lighting cues and communication plan during the show. The Spotlight Operator will also be responsible for maintaining lighting set up by adjusting and placing the spotlight in specified locations of the venues and ensure proper functionality prior to the show. 

Receive and review all lighting cues from Stage Manager and ensure clarity of communication plan during the show according to instructions.

Responsible for maintaining lighting set up. Adjust and place spotlight in specified locations of the venue while ensuring safety and maintenance of areas and lighting equipment.

Responsible for testing all lighting functionality prior to the show for efficiency and timeliness and ensure lighting equipment is properly shut down and secured at end of show.

QUALIFICATIONS

A minimum education level of: High School Diploma or its equivalency

A minimum of 1-2 years of related work experience.

Ability to hang, focus and trouble shoot lighting and theatrical electrics-related issues.

Knowledge of lighting techniques, tools, and principals involved in production.

Must be able to take direction and execute instructions accurately.

Good interpersonal and communication skills.

Strong attention to detail.

Ability to work in a fast-paced environment.

 6. STAGEHAND

SUMMARY

The Stagehand is responsible for performing all setup before, during, and after events which includes, but is not limited to, assembling and disassembling production equipment on stage. In addition, the Stagehand will work closely with and assist carpenters with scenery build, installation, video, sound and light production.

PRIMARY RESPONSIBILITIES

Responsible for assembling and setting up at the beginning of the scene (i.e. props, microphones, musical instruments, scenery, etc), disassembling and removing equipment at the end of the scene in addition to cleaning up the stage and backstage area after performances.

Load and unload equipment from trucks and set up equipment according to stage design while ensuring safety requirements are met.

Assist carpenters with scenery build and installation of stage maintenance, construct and paint set pieces, move and rearrange furniture.

Work closely with electricians and lighting assistants with maintenance of video, sound, and light production.

Ensure operations of systems are functioning properly.

QUALIFICATIONS

A minimum education level of: High School Diploma or its equivalency

A minimum of 1-2 years of related work experience.

Previous experience with manual labor preferred.

Forklift and heavy machinery certified.

Must have a valid driver’s license if venue location requires driving.

Must be able to take direction and execute instructions accurately.

Ability to work in a fast-paced environment.

Ability to lift, push and pull up to 50 pounds.

Bilingual English/Spanish preferred.

 7. STAGE MANAGER

SUMMARY

The Stage Manager will oversee the on-stage production and direct the stage crew by assigning duties and ensure maintenance of the stage and work area for events. This position will ensure operations of systems are functioning properly during the show while ensuring the safety of all local staff, artists, and patrons with respect to all production elements.  

PRIMARY RESPONSIBILITIES

Oversee on-stage production and communicate any changes to run of show or other planned production elements to other departments (i.e. Operations Manager, General Manager, Security).

Call show cues for audio and lighting as needed and ensure operations of systems (i.e. lighting, sound, video, etc.) are functioning properly.

Ensure the stage crew maintains the stage and work area for events while ensuring adherence to all SFFD, OSHA, and ADA requirements in addition to the safety of all local and touring staff, artists, patrons with respect to all production elements.

Oversee and manage load in and load out operation of multiple artists productions in addition to artist trucks and vehicles coming and going to loading dock.

Direct the work of Stagehands by assigning duties such as assembling and disassembling of equipment at the beginning and end of performances, loading and unloading of equipment, and managing time and attendance in addition to scheduling breaks in accordance to local wage and hour laws.

QUALIFICATIONS

A minimum education level of: High School Diploma or its equivalency

A minimum of 3-5 years of related work experience.

Forklift and heavy machinery certified.

Must have a valid driver’s license if venue location requires driving.

Knowledge of OSHA/ADA laws and regulations.

Exceptional management or leadership background with demonstrated success in team building.

Ability to work in a fast-paced environment.

Strong interpersonal, verbal and written communication skills.

 AEG reserves the right to change or modify the employee’s job description whether orally or in writing, at any time during the employment relationship. AEG may require an employee to perform duties outside his/her normal description.

To apply

https://www.sevenseasmusic.com/contact/

[syndranker1]

LF-30 Electrified Concept

In its continued efforts to deliver innovative and amazing experiences, Lexus unveiled its “Lexus Electrified” vision for an upcoming generation of electrified vehicles. Headlining this moment was the debut of the Lexus LF-30 Electrified Concept, which made its world premiere at the 46th Tokyo Motor Show 2019.

Since the brand’s creation in 1989, Lexus has endeavored to deliver to its customers innovative and amazing product and brand experiences that stimulate the five senses. Since the launch of the RX 400h in 2005, Lexus has led the world as a pioneer in electrification technologies such as the two-stage reduction gear and the multi-stage hybrid system which leverage technology to offer excellent performance and the direct driving sensation characteristic of Lexus Hybrid vehicles. 

The “Lexus Electrified” vision unveiled today targets a fundamental leap in vehicle performance, handling, control and driver enjoyment — even as mobility within our society continues to change with autonomous driving and vehicle electrification.

Evoking the original fun of driving, Lexus is developing new advanced posture control and other electrification technologies to further evolve driving pleasure, and to fundamentally transform the essence of luxury vehicles of the future. Towards this end, Lexus is drawing on the lessons learned developing the core technologies found in Lexus’ popular range of gasoline-electric hybrids, including battery management, power control modules, and electric motors. In particular, the technology of Lexus Electrified enables integrated control of powertrain, steering, suspension, and brakes, realizing the ultimate potential of the motor control technology cultivated in HV. With this technology, we can control the driving force to provide ideal vehicle posture according to each driving situation. Lexus endeavors to continue providing enjoyable and safer driving vehicles.

To advance this goal, Lexus plans to unveil its first BEV in November 2019 –broadening its response to the needs of various regions around the world, including the development of HEVs, PHEVs, BEVs, and FCEVs. Moving forward after that, Lexus plans to expand its electrified vehicle lineup – launching its first PHEV and a new dedicated BEV platform early in the coming decade. By 2025, Lexus will have available electrified versions of all Lexus vehicle models, and we are aiming for the sales of electrified vehicle models to outpace those of conventional internal combustion engine vehicle models.

Lexus LF-30 Electrified highlights

The LF-30 Electrified concept vehicle embodies the “Lexus Electrified” vision. For its exterior styling the advanced image expected of a BEV has been channeled into artistic qualities that result in a futuristic form, and an interior that assertively weaves in autonomous driving and other new technologies aims to manifest Lexus’ distinctive worldview. Performance is rooted in Lexus Electrified components, adding Lexus’ latest technology to its leadership in development of HEV systems. Precise electric motor control enables instantaneous adjustments to posture not possible with conventional vehicles. Furthermore, the LF-30 Electrified employs numerous advanced technologies with a look ahead to the year 2030- such as a new-concept cockpit based on a human-centered design philosophy and a steer-by-wire system.

Read More: Innovating Japan’s Ageing Agriculture

In taking up the challenge of expressing a new design that could only be achieved with a BEV powered by in-wheel electric motors, Lexus visually articulated the LF-30 Electrified’s unique energy flow. The vehicle form is meant to visually express the energy created by the wheels set at the corners of the vehicle body streaming toward the vehicle cabin and past the driver to directly flow onto the road surface.

Taking advantage of a hoodless vehicle shape made possible by being a BEV, Lexus’ signature “spindle” form has been further evolved to span the entire vehicle architecture. The window glass, which continually stretches from the front to rear, the muscular fenders, and the wing-shaped headlights form the contours of the Lexus iconic spindle. The shape of the body is fashioned with an elegantly flowing front which transitions into a linear and sharp rear. In addition to the wing-shaped headlights, the sharpness of the rear lights and side air intakes combine to achieve both excellent aerodynamics and cooling performance, resulting in styling fused with function.

The opacity of the side windows can be freely adjusted, providing occupants with expansive views of the surrounding scenery and a high level of privacy at night and in other situations. The color of the front face of the vehicle and luminescence patterns help identify from the outside whether the vehicle is being operated in its normal mode or in its autonomous driving mode, reflecting Lexus’ pursuit of both a high level of styling and functionality. The exterior color ‘voltaic sky’ employs a leading-edge metal-infused coating to achieve a unique quality tinted by a touch of blue-green.

To manifest in a higher dimension Lexus’ fundamental human-centered philosophy, the cockpit was designed based on the new Lexus concept of “Tazuna.” Inspired by how a single rein can be used to achieve mutual understanding between horse and rider, the steering controller-mounted switches and head-up display have  been coordinated to a high degree, creating a space that enables the driver to focus on driving while controlling various functions, such as the navigation and audio system and driving-mode selection, without having to shift one’s vision or operate manual switches. As an indication of the future image of a Tazuna cockpit, the LF-30 Electrified employs next-generation interfaces, such as gesture control and enhanced presentation of vehicle information through AR (augmented reality). The resulting interior is one that provides comfort and convenience for both driver and passengers.

With the layout of the front passenger seat echoing that of a first-class seat on an airliner, the interior is one in which a sense of openness and a sense of envelopment coexist. All switches and other controls being comfortably within reach and a gesture-control large-screen display for the passenger seat add to the achievement of interior comfort and convenience.

The rear seats use artificial muscle technology to mold to their occupant, and can support various modes such as reclining, relaxation, and alert functions. A Mark Levinson® audio system creates a next-generation listening environment, in which minute speaker control establishes ideal acoustic spaces for music listening pleasure for the driver and each passenger, and speakers built into the headrests not only provide an optimal audio environment but also have a noise-cancelling feature that contributes to enhanced quietness.

Read More: Merlin To The Rescue

A glass roof above the rear seats features voice control and a gesture controlled “SkyGate” display window that uses AR to display various types of information, such as a realistic star-filled sky, user-favorite videos, and even navigation.

In addition to its unique design, the interior also indicates the direction of next-generation luxury by using sustainable materials to reduce environmental burden. Yakisugi (charred cedar), a traditional Japanese material, is used in the floor and steering controller while recycled metal was processed into fibers for use in creating the pleated door trim. This approach expresses Lexus’ distinctiveness and innovative spirit.

To achieve a fundamental leap in vehicle performance, handling, control and driver enjoyment, the LF-30 employs numerous state-of-the-art technologies even beyond advanced posture control. In-wheel electric motors for each of the vehicle’s four wheels and low positioning of the battery enable better handling of inertia and high-level driving performance. Autonomous driving technologies and drone support vehicle technologies look ahead to the year 2030 and the widely expanded value that vehicles can offer.

Lexus Advanced Posture Control technology regulates the drive-power output from high-torque electric motors to adjust vehicle posture in tune with human sensibilities. Completely independent control of front and rear drive wheels allows appropriate provision of front-wheel drive, rear-wheel drive, and all-wheel drive, depending on the driving situation. Compact and lightweight drive-power units expand freedom in vehicle packaging and are used to enable the driver to enjoy ideal driving, regardless of the road surface or driving conditions.

Positioning Lexus Advanced Posture Control technology as a core element of the ‘Lexus Electrified’ vision, Lexus intends to widely apply this technology throughout its lineup of electrified vehicles.

The steer-by-wire system eliminates a mechanical connection to allow more flexible turning control depending on driving conditions, and a more precise steering feel aligned with the driver’s intention. It also contributes to a greater sense of openness by allowing the steering controller can be shifted forward and out of the way during autonomous driving.

Read More: Pix4D Launches Pix4Dreact, 2D Fast-Mapping Software for Emergency Response and Public Safety

As a next-generation BEV, LF-30 uses wireless charging technology to simplify daily charging, and AI-based energy management to enable optimal distribution of electric power to both the vehicle and the home, and charging control coordinated with the user’s daily schedule.

Onboard AI distinguishes the voices of vehicle occupants, and uses personalized information stored on the driver’s control key to serve as a partner. It facilitates the adjustment of elements of the interior environment, such as air temperature and audio, and the setting of navigation routes and destinations, while also making proposals for activities after arrival. It also understands the driver’s preferences and helps them control the suspension and powertrain settings in real-time according to the driving scene.

The LF-30 Electrified also carries the ‘Lexus Airporter’ drone-technology support vehicle. Using autonomous control, the Lexus Airporter is capable of such tasks as independently transporting baggage from a household doorstep to the vehicle’s luggage area.

Based on the latest autonomous driving technology concept of ‘Lexus Teammate’, the LF-30 Electrified features advanced driving support functions in the form of a Chauffeur mode and a Guardian mode.  Occupants can enjoy both comfort and peace of mind during autonomous driving with advanced posture control technology being employed. Furthermore, a self-parking function and a front-door pickup function in which the LF-30 Electrified autonomously moves from driveway to doorstep provide an especially high level of convenience.

In addition to the LF-30 Electrified exhibition, the Lexus booth at Tokyo Motor Show will contain “Lexus Senses theatre,” a space where people can experience the “stimulation of the five senses.” It consists of two experience spaces, audio and visual. In Theater 1, the sensual engine sound of Lexus LFA stimulates hearing with 360° 3D sound.

Theater 2 offers a visually stimulating experience with the Lexus LC model by projection mapping – which changes its appearance according to the time of day and the viewing angle. In this booth layout you can appreciate the Lexus philosophy, while enjoying sensory stimulation through “real experience.”

For more information, visit Lexus.com

Source

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[shirlleycoyle]

Satellites Are Quietly, Constantly Watching Us

Ziya Tong is the author of ‘The Reality Bubble,’ a groundbreaking and wonder-filled look at the hidden things that shape our lives in unexpected and sometimes dangerous ways. This is excerpted from that book.

It was obvious that the dot on the map had stopped moving, but it was some time before people realized that the dot on the map had died. That dot was Michael Hall, a cyclist in a 5,500- kilometer endurance race being watched online by a community of “dot watchers,” fans who kept track of the cyclists along their thirteen-day route from Fremantle to Sydney, Australia.

Each dot had an athlete’s nametag, and it wasn’t unusual for them to pause here and there, when the athletes stopped to rest, take meal breaks, or go to the bathroom. The GPS live trackers were on board the bikes to ensure that cyclists didn’t cheat, while also providing the fans with live coverage of the riders they were following.

Over the course of the race, people began to warm up to the little dots moving about the screen. As Belinda Hoare, one of the online trackers, said, “You’d go from checking maybe once or twice a day, to checking a couple of times a day, to checking hourly, and then you’d have the map open constantly … you really did feel like you got to know these people.”

On March 18, 2017, Hall’s dot was in second place, when at 6:22 a.m. it suddenly stopped moving near the intersection of the Monaro Highway and Williamsdale Road. It was the final day of the race, and puzzled fans began to wonder why Hall had paused at this critical point. What they did not yet know was that he had been struck by a car and killed. By GPS, they had witnessed his death.

In a few short decades, GPS has become so ubiquitous and indispensable it has entered almost every sphere of our lives. The moment you step outside with your smartphone in hand, you too are a moving dot. And though you cannot see it, the world has been overlaid with a time-and-space grid. All of us are synchronized to it and can be traced by our coordinates. We are largely unaware of the role satellites play in our lives, but stock markets, telecommunications, jogging routes, drone strikes, local weather forecasts, ATM machines, traffic lights, and food deliveries all rely on this public infrastructure that orbits silently high above us.

The signals are controlled by the U.S. Air Force and used by about a billion people daily. At night, you might occasionally see one of these GPS satellites twinkling in the sky like an artificial star as it reflects the sun. Each satellite weighs around two metric tons, and with their solar panels stretched out, the largest have wingspans of about 35 meters, or the length of two tractor-trailers. Orbiting at an altitude of 20,200 kilometers above Earth, each satellite belongs to a constellation of 24-31 GPS satellites at any given time, that zip around the planet at speeds of more than 11,000 kilometers an hour.

In their book GPS Declassified, Eric Frazier and Richard Easton imagine what Captain Cook, who navigated with real stars, might think of this modern technology.

Cook: What use are invisible stars?

Commander: We don’t need to see them. The satellites transmit electromagnetic frequencies … radio signals that our equipment uses to determine our position. Radio signals are very rapid vibrations that our instruments detect with their antennas, which for them are like our ears, but these are not sounds anyone can hear.

Cook: You steer your ship with sounds you cannot hear from stars you cannot see?

That is exactly what we do. Humans can hear sound at a range of 20 hertz to 20 kilohertz, but GPS radio signals are much higher than that. Operating at bands of 1,227.6 megahertz and 1,575.42 megahertz, these radio waves, when they reach the ground, aren’t audible to any animal on Earth. Radio signals are incredibly faint. As Carl Sagan once said, “The total energy picked up by all the radio telescopes on the entire planet in all of history is less than the energy of a single snowflake hitting the ground.” That statement was made when he recorded the television show Cosmos in 1980. According to astronomer Frank Drake, who made the original calculation, with the additional radio waves beaming down to Earth since then, the amount might now be equal to “two snowflakes … maybe three.”

Using receivers, however, we are able to pick up the faint waves of these signals as they wash over us. And it’s not just the US complement of satellites we can choose from either. Russia has its GLONASS satellites, the EU has Galileo, and China has its BeiDou system of navigation satellites. Pulling in signals from one or more of these systems, along with a base station at a known position for reference, today’s civilian GPS receivers can now pinpoint your location within 1.5 meters (it had been within an area about the size of a football field in the 1990s).

Of course, GPS satellites, which operate at medium Earth orbit (MEO) and circle the planet twice a day, are not the only eyes in the sky. At low Earth orbit (LEO), or an altitude of two 2,000 kilometers and below, you’ll find the majority of Earth observation satellites. Circling Earth every 90 minutes, these satellites are close to the planet’s surface and are frequently used for meteorology, map-making, and environmental monitoring. Zooming up much higher, to an altitude of 35,786 kilometers is where you’ll find the satellites operating at geosynchronous orbit (GSO) and geostationary Earth orbit (GEO). These satellites are synchronized with the rotational period of the planet and are primarily used for telecommunications, where the signals can be constantly and reliably accessed from the same spot on Earth. As artist and geographer Trevor Paglen points out, geostationary satellites are “thousands of times further away” and “remain locked as man-made moons in perpetual orbit long after their operational lifetimes.” Because they are too far away to bring back down and burn up in the atmosphere, instead, when these satellites reach the end of their lives, operators on Earth use on-board propellant to bump them up three hundred kilometers into what’s known as a graveyard orbit. Paglen notes that here they will stay circling Earth, outlasting the pyramids as remnants of our civilization. Archaeologists of the future will not just dig the earth; they will likely uncover much about the twenty-first-century human record by examining our well-preserved machines looming high up in our space cemeteries.

Beyond LEO, MEO, and GEO, however, there are still other orbits that for security reasons have no published schedules. These are the secret paths of the spy satellites. The CIA has been launching “Keyhole” (KH) class reconnaissance satellites since the 1960s. They have powerful lenses that can zoom in on the tiniest details on Earth and yet remain invisible to the general public. As was the case with GPS, the capabilities of civilian craft are several years behind what the military can do. In April 2018, Surrey Satellite Technology Ltd. announced that the United Kingdom’s Carbonite-2 satellite was able to record full-color HD video from 505 kilometers away. By stacking the frames in much the same way macro photographers do, experts can use the data to resolve an image from space down to sixty centimeters. And this is a civilian craft. With some US government restrictions relaxed, commercial imaging satellites like the ones Google uses will now be able to show images at 25 centimeters of resolution. That’s the ability to see your face—from space.

The latest spy satellites are even more powerful. Keyhole electro-optical imaging satellites of the KH-12 class are said to have a primary mirror on board that is 2.4 meters in diameter. That’s the same size as the mirror used on the Hubble Space Telescope, which is used to image objects 10-15 billion kilometers away. We can only imagine the resolution this class of reconnaissance satellites has when its lenses are turned not on outer space but on Earth. Not much is revealed about the Keyhole satellites, but we do know that launches are managed by the National Reconnaissance Office with a heavily funded budget of an estimated $10 billion a year. The satellites usually follow polar elliptical orbits, allowing them to scan all of Earth from pole to pole, passing over the equator at a different longitude each time as the planet beneath spins from day to night.

Even declassified documents about spy satellites are heavily redacted, so what we know about their locations comes largely from hobbyists who track their trajectories from Earth. These amateur astronomers have their eyes trained on the top secret machines. They are, in essence, the only eyes that watch the watchers. Communicating through a mailing list called SeeSat-L, this small group of observers from around the world uses stop-watches, telescopes, and cameras to monitor the orbital planes of approximately four hundred military satellites. As one member of the group, Marco Langbroek, described in Popular Science, “Just like the Earth has a coordinate grid, with latitude and longitude, the sky has a coordinate grid, and every star has a coordinate within that grid. And by using stars as a reference point you can determine the coordinates of a satellite in the sky.”

For most of us, these satellites are out of sight and out of mind, but the reality is there are thousands of highly advanced commercial, scientific, and military eyes that hover and swoop in the skies above us performing duties that are critical to the functioning of modern society. As geostrategist Nayef Al-Rodhan writes:

Any accidental interruption or deliberate severance of space- based services would cause immense financial losses and other disruptions. Indeed, a single day without access to space would have disastrous consequences worldwide. Approximately $1.5 trillion worth of financial market transactions per day would be stifled, throwing global markets into disarray. According to statistics provided by the International Air Transport Association, over 100,000 commercial flights crisscross the planet daily. Evidently such flights would be interrupted by communication disruptions, and deliveries of emergency health services would be severely hampered. Additionally, coordinating effective responses to crises would become nearly impossible. Due to the fundamentally transnational nature of almost all outer space activities, any conflict in outer space—even a limited one—would have disastrous consequences for the large amount of civilians globally who depend on the provision of outer space services. Contemporary strategists warn that command and control structures of modern militaries are also becoming critically dependent on space-based assets for communication, coordination, reconnaissance, surveillance, high-precision targeting and other critical military activities. This increasing indispensability of space for modern military activities makes satellites ideal targets in future conflicts.

The targeting of satellites makes everyone on Earth—especially the most developed and technologically advanced nations—exceptionally vulnerable. One incident in particular has shown the potential for serious disruption in space. On January 11, 2007, China launched a ballistic missile from Xichang Space Center. Its target was innocuous, the Fengyun-1C, an old Chinese weather satellite traveling at around 27,000 kilometers an hour. The missile carried a kinetic kill vehicle, which it released toward the weather satellite, coming in from the opposite direction at a relative velocity of 32,400 kilometers an hour. The head-on impact destroyed the satellite instantly, shattering it into a cloud of debris that sent over 35,000 shards into orbit, where they still circle like a ring of daggers around the planet. The threat of the space debris to other orbiting satellites is certainly dangerous, but the mission made something else crystal clear. While ostensibly China was decommissioning an aging satellite, it also proved to the world it had the capacity to destroy a satellite in orbit and blind another nation’s eyes.

Satellites Are Quietly, Constantly Watching Us syndicated from https://triviaqaweb.wordpress.com/feed/

[3thurs]

Third Thursday April 18

The next Third Thursday — the monthly evening of art in Athens, Georgia — is scheduled for Thursday, April 18, from 6 to 9 p.m. All exhibitions are free and open to the public.

This Third Thursday will offer four events in addition to the exhibitions. One of the venues will be closed.

Georgia Museum of Art, University of Georgia

Lecture: Louis Waldman, 5:30 p.m. — Dr. Louis A. Waldman’s talk is titled “Renaissance Cassoni: From Storage to Storybook.” The homes of Renaissance Italians had no closets; their precious articles of clothing were kept in chests now known as cassoni. In the 15th century, these chests were decorated with a vast range of imagery, often by important painters, whose stories tell us a great deal about the interests and values of their owners. Presented in conjunction with the exhibition “Life, Love and Marriage Chests in Renaissance Italy.”

Yoga in the Galleries, 6 p.m. — Join us for a yoga class surrounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis. Space is limited and available on a first-come, first-served basis; tickets are available at the front desk starting at 5:15 p.m. Yoga mats provided.

Tarot Workshop, 6:30 – 8:30 p.m. — Tarot originated in 14th- and 15th-century Italy and then spread to the rest of the world. Learn a bit about how it rose to prominence during the Renaissance and how it can still be applicable in modern-day life. Serra Jaggar of Indie South will lead us in an exploration of the cards and their meanings, different tarot decks and different spreads to divine meaning. The workshop fee is $25 and includes your own Rider Waite tarot deck to continue your practice. Registration required; contact callan@uga.edu or 706.583.0111 to reserve a spot.

On view:

“Master of Fine Arts Degree Candidates Exhibition” — The annual exit show for the graduating master of fine arts students at the Lamar Dodd School of Art. Graduating candidates are able to exhibit their work in various areas of study including painting and drawing, fabric design, photo and video, printmaking, sculpture/fibers, jewelry/metals and ceramics.

“Life, Love and Marriage Chests in Renaissance Italy” — The exhibition comprises around 45 Renaissance works of art related to its theme and representative of life and social customs in Renaissance Italy.

“Stony the Road We Trod” — This exhibition features works by African American artists in the museum’s permanent collection and by this year’s Larry D. and Brenda A. Thompson Award Winner, Leo Twiggs.

“Out of the Darkness” — Artist Rebecca Rutstein uses UGA marine sciences professor Samantha Joye's research to create an interactive sculptural installation and several large paintings.

Permanent Collection — Thirteen galleries house a large portion of the Georgia Museum of Art's collection, including many of the 100 American paintings that made up Alfred Heber Holbrook's founding gift.

Lamar Dodd School of Art Galleries, University of Georgia

Closed to install the next round of BFA shows.

Lyndon House Arts Center

3Thurs Artist Talks, 6 p.m. — Kate Windley, Laura Floyd and Eli Saragoussi will introduce their work during a discussion and gallery walk-through of the 44th Juried Exhibition, led by curator Beth Sale.

On view:

“The 44th Juried Exhibition” — Featuring works by 130 artists selected by guest juror Lauren Haynes, contemporary curator at the Crystal Bridges Museum of American Art.

“Plastic Bodies” — Works by Abigale West in the Lounge Gallery.

ATHICA: Athens Institute for Contemporary Art

“New Gods | Old Gods” — Featuring works and performances by I Made “Bayak” Muliana; curated by Peter Brosius and Alden DiCamillo. Made Bayak’s visual practice merges images and symbols from Balinese cosmology and current Balinese political and ecological movements to bring attention to parasitic real estate development and past actions of violence within Bali. The colorful and piercing narrative works that will be on exhibition use plastic waste and trash, ink, acrylic paint, stencils and traditional Balinese painting techniques to tell the most difficult stories of Balinese history. Additional documentary photographs and videos of his work and contextual information about Bali are exhibited alongside.

Ciné

“Painting by Tobiah Cole” — Tobiah Cole’s work is an exploration of improvisational mark making. Often working with a wandering line, Cole has been painting forms that evolve and deconstruct in a landscape of paint that has no firm boundaries. It's his intention to paint from a place of not knowing and to allow images to slowly emerge on their own.

Hotel Indigo, Athens

“You Are Here” — Works by Amanda Jane Burk, Eli Saragoussi, Chasity Williams and Tae Lee

“Taylor Shaw” — A new installation in the GlassCube, featuring neon fantastic mini golf Athens mural fun.

The Classic Center

“Checkerboard Checkered Floor” — An exhibition exploring pattern play is on view in Classic Gallery I. Featuring the boxy abstractions of Cal Clements, the black-and-white patterned interiors of Hanna Friedlander, Jess Machacek’s ombré assemblages, Jared Brown’s bouncy, poppy paintings and Courtney McCracken’s marbled geometric combination collages.

“See Dan Paint” — A solo exhibition of Moby Dicks and large paintings by Dan Smith in Classic Gallery II.

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Third Thursday was established in 2012 to encourage attendance at Athens’ established art venues through coordination and co-promotion by the organizing entities. Rack cards promoting Third Thursday and visual art in Athens are available upon request. This schedule and venue locations and regular hours can be found at 3thurs.org.

Contact: Michael Lachowski, Georgia Museum of Art, mlachow@uga.edu.

[midnightproductionsstudio-blog]

Magic Valley Stampede: Opening Video

The Project:

We were approached by a client about a month ago that had a need to create a video. The original goal of the video was just a 2-3 minute montage of old rodeo footage that he wanted to use to help mask the clean up and prep that had to happen after the big national anthem introduction.

He had an idea of taking the flag girls who typically open the rodeo and utilizing them in this montage. He was very inspired by the Calgary Stampede promo video that he found while perusing YouTube. His initial thought was to have 30 seconds of them in the video at maximum and focus more on the archive footage of the old rodeos.

Now you may have noticed the girls got a lot more time in the video than initially planned and that was mostly because we got so much footage that both the client and us loved.

The Planning:

We researched for a couple days about what other rodeos were using for their opening or promotional videos. It was a bit of a mixed bag of quality and there actually wasn't as many as we thought there would be. Lots of dramatic shots of the competitors getting ready, strong lighting and silhouettes and other than the video that inspired the client initially not a lot of flag girls. So we debated what the real purpose of the video was, and most of it was getting people distracted from the rodeo grounds and getting them hyped up. 

So the focus of the video become this ride (all puns intended) to the competition. The flag girls are typically the first thing either before or after the anthem that rodeos have. Almost like the heralds of the rodeo announcing the beginning of the competition or like the torch of the olympics. 

We knew that we wanted to capture a lot of footage of them riding in formation and at a decent speed. Getting that driving force, constant movement towards their end goal. A good music bed is also important to further emphasize that rhythm of the horses hooves.

We did a location scout 3 days before and determined where we were going to set up our shots. We discovered this amazing little grove of trees that had a path straight through it. It was a must shoot, just because we knew most of the rest of the shots would be in pretty wide open spaces.

We then started looking at playing with water and dirt. Having some slow motion shots of the particles and water droplets flying around is always a great effect. We also thought the slower motion would help capture the beauty of the horses and their power. Further the speed change gives some contrast to the high action shots from the rodeos archival footage. This small creek was a great option for our flag girls and the horses to ride through and we could capture safely in multiple angles.

One of the things we knew from the beginning that we wanted was a wide open meadow that we could shoot in. Something that would allow the horses to really cut loose and cover some ground. Plus with our ability to get some aerials with the drone it would be something really special. We finally settled on this meadow in one of the back pastures.

We had to give up on a couple of locations because the cattle were actively grazing the area or they had been watered so throughly we would get stuck. But with the 3 locations selected plus some notes to get some more stationary shots at the corrals, we were feeling pretty excited to get shooting.

The Shoot:

We posted a video earlier this week that showed some of the shenanigans we got into while filming out at the ranch. Below is some more info that wasn’t captured in the video.

The day finally arrived and we showed up around 6AM to start getting setup. We had to get ATV’s and Razors coordinated with the ranch hands as well as prepping all the equipment. Some major challenges we had were actually the fact that we were so far out in the middle of nowhere in Idaho there was no service. So when our talent and their horses got lost looking for the location, they couldn’t even call. So needless to say, we start about an hour later than we wanted. The other issues is that the ranch is active and so we had times when vehicles would be in our shots and we either had to re-shoot or in two cases deal with the footage as is.

While getting the girls to the location was a bit of a task, once they were there they got a two-way radio so that as they were riding we were able to communicate with the lead rider if we needed them to turn back or re-shoot. We also laid out a schedule for the day and tried our best to communicate what our expectations and needs were going to be throughout the day. We also strongly encouraged them to let us know what they or their horses needed throughout the day.

We started shooting in the alley because we knew it was going to be the shot that took the most time to set up. The rest of the locations were easier to access and setup. Unfortunately, this was also pretty muddy so we got the horses and the girls speckled in mud within the first few takes. 

We did several takes of the girls riding up and down the alley in slow mo which we shot of the GH5 with its pretty amazing VBR settings and the iPhone X which also has pretty great slow mo capture. We then caught some in full speed and with the drone as they entered and exited the alley. 

Then was when things got interesting and messy. We really wanted to capture them as they were going through the alley so Kris and myself both squeezed on an ATV with iPhone and a gimbal and rode in front of them. We actually got some great shots of the mud being kicked up into the frame by the ATV as we were shooting the girls which added a fun texture to the shot. However, the girls were not as impressed when said mud started fling back in their direction.

We wrapped in the alley and moved on to the creek. Here we had to fight the horses as most of them wanted to spend more time playing in the creek than running through it. As with anytime you introduce animal actors into a video shoot, you spend a lot of time waiting for them and trying to get them just right. These horses were very well trained and after the first 2 or 3 takes they started to get what the goal was and nailed the next couple of passes.

We utilized the GH5 as a wide shot and the iPhones and action cams to capture the close ups in the water as the horses rode through. The action cams were key, so that we could get the shots from multiple angles without having the cameras or camera ops in the shots.

We headed to the corrals next, to capture some of the shots of the “girls headed out” on this big ride. With steel fences that extend into the horizon and the ability to really play with focus allowed for some great artistic shots. We had some dirt in the corrals that allowed up to capture some controlled shots of one of the girls stomping her boot and of the horse galloping through the frame in slow mo.

My favorite shot we captured here was the girls leaning against the fence as we rolled the focus from a flag in front to the girls in the back. Its just a cool shot and makes the girls from the very beginning look confident and strong.

Our final location was out on the meadows. We did a walkthrough of the path with the horses as there were some ditches and pot holes in the field that popped up out of nowhere. Our highest priority throughout was safety, we didn’t want to injure any of the animals or the talented you women riding them.

Once the path was set, Luis hopped in the Razor with iPhone and gimbal in hand as I sat next to him to make sure he didn’t fall out if he decided to lean too far out the cab. We started driving our route back and forth with the horses in a full gallop. The Razor drove behind, next to  and in front of the horses and they rode in perfect formation. We had more troubles near the end as the wind picked up, which then started trying to and sometimes succeeding in stealing the girls hats.

The last thing we had to capture were some aerials shots of the girls riding through the meadow. I piloted the drone over several paths and captured them from a few different angles so we had a lot to choose from in post. Thats when Trevor had a brilliant idea. He said, “Let’s replicate that scene when the Nazgul are chasing Arwen”. If you don’t know the reference, watch this clip from YouTube and you’ll see. It was an awesome idea and we only had to shoot it once to capture the take. Once we had that, it was a wrap as the girls, the horses and us were all exhausted and ready to go home.

The Editing:

We captured a ton of footage during the shoot and we didn’t really have to worry so much about not having enough but instead making the decision of what was the best of the best. We shot a lot of the footage at the ranch in 4K even though the final product was going to be in 1080. This allowed us to creatively crop shots in post if we needed to.

The most arduous task of this whole project was actually sorting through the 6 hours of archival rodeo footage. As the footage was in standard definition and in 4:3 aspect ratio. In our world of HD and 16:9 this was a bit rough just to look at. Fortunately, there are way less entertaining things to watch than these bull riders, ropers and bronc busters performing at a professional level.

We chose to scale up the rodeo footage as large as we could without too much distortion and then placed a large version of the footage behind the foreground with a gradient blur to fill out the rest of the landscape view. It is a common solution to the making a square video fit in a rectangular display.

We started with a song that the client had initially said he liked. I put about half of the clips in place and sent him a demo just to make sure we were headed in the right direction. It was a good thing I did because while he loved the song and the direction, his board of directors did not like the song. At least not all of them, so we had to go back to the drawing board and find a song that was more traditional country feeling than the more rock focused music we started with. I would like to say that even when you think everything is set, sometimes things like boards of directors or a freak weather storm can derail even the best laid plans. Its a hazard of the industry.

Once the head honchos found a song that they could all get behind the new editing process started. Trying to make footage shot for music of a different style was a bit rough at first, but once I found rhythms and accents in the music to highlight movement or moments in the footage the pieces just seemed to fall into place. 

After the rough cut was done, and approved we started finessing cuts and timings. Horse bucking to drum beats, cowboys crashing on specific cymbal hits, lyrics talking about certain aspects of the rodeo. 

Then playing with color correction, trying to get the footage shot on all of these different cameras to feel homogenous. Then adding some style on it, I loved the idea of playing with the sepia and gold tones on the video similar to old western movies, as stereotypical as that sounds. Those colors really helped communicate a wide open prairie feel. Making the dirt a rich brown versus just a dead light brown. And of course, using secondary HSL to bring some of the blue back into a often overexposed sky. You can see a side by side comparison below.

Conclusion

In the end, we had a ton of fun on this project. I am always a firm believer that communication is the number one skill you can have in any industry but especially in creating something like this. We had some hiccups in our communication with the client’s bosses which would have saved us some editing time. On the flip side, our planning and communication with the talent allowed us to capture some amazing footage and create a great product.

This is the first of many blog posts to come. We encourage your feedback as we develop our style and experiment with different tutorials, product reviews, and posts like these. Below is an equipment list of what we used on this particular project.

Equipment List:

Lumix GH5

Sigma 18‑35mm F/1.8 DC HSM ART Lens

Metabones Canon EF Lens to Micro Four Thirds T Speed Booster‎

Atomos Ninja Inferno

DJI Ronin

Manfrotto Tripods

iPhone X 

Gimbals

iPad Pro

DJI Mavic Pro

ND filters

Yi Lite 4K+ Action Cams

Edited in Adobe Premier Pro

[gystink]

Jobs: Seasonal Production Assistant for the Los Angeles Philharmonic Association (Los Angeles)

Seasonal Production Assistant The Los Angeles Philharmonic Association Los Angeles, CA  

The Los Angeles Philharmonic Association is looking for a

Seasonal Production Assistant

Founded in 1919, the Los Angeles Philharmonic Association's mission is to perform, present, and promote music in its varied forms at the highest level of excellence to a diverse and large audience, both at the Walt Disney Concert Hall and the Hollywood Bowl.  The Los Angeles Philharmonic Association is dedicated to continuing its pre-eminent status in the music world of the 21st century.

Position Summary: 

The Seasonal Production Assistant aides in all facets of production for concerts at the Hollywood Bowl from approximately May 14th through September 30th and provides a broad range of support to the Presentations department.

Coverage of all Presentations concerts to be split between the production assistants, exact assignments to be determined. This is a non-regular full-time position, from approximately May 14th through September 30th, with possibility to assist during first two weeks of October. Up to 3 positions available. 

Position Elements:

Provide production assistance as required for concerts and presentations, including tickets and parking passes; extensive hospitality and catering/dressing room needs/setup for artists per the contract riders; complex artist ground transportation schedule, creative problem solving, customer service, and assistance in other artist liaison issues; hotel arrangements; and some “runner” responsibilities.

Provide administrative support, general and research assistance: screen calls as needed; maintain office files; draft correspondence; arrange courier services; assist with contract administration; collect info from artist reps and agents; draft production schedules; etc. 

Assist office with ticketing and parking requests from artists, agents, managers, vendors and outside parties needing special handling.

Attend Hollywood Bowl Orchestra services and concerts as needed, and distribute parking passes and tickets to Orchestra members at rehearsals, as well as other rehearsal/concert duties as assigned.

Assist with and coordinate check-out of music to Hollywood Bowl Orchestra musicians.  For each concert series, take music from office to first Orchestra rehearsal as needed.

Provide scheduling assistance – scheduling meetings, organizing conference rooms.

Obtain and disseminate information to general staff as required, including (but not limited to):  biographical information for artists; production schedules; rehearsal schedules; and general information as requested by Association staff.

Keep an up-to-date ledger of department expenses and invoices in coordination with Director, Presentations.

Other duties and projects as assigned.

Position Requirements:

Must be available to work full-time from approximately May 14th through September 30th.  Hours: Monday – Friday, 10:00am – 6:00pm, plus evenings and weekends as needed for rehearsals/concerts/shows.

Must be extremely detail-oriented and highly organized, with excellent follow-through

Previous Concert production background and experience required

Tour Manager experience desired

B.A. (or equivalent background and experience) desired

Minimum one (1) year administrative experience

Exceptional, professional and clear writing and verbal communication skills

Strong word processing, spreadsheet and general computer skills (Microsoft Office, Word, Excel, Outlook, etc.)

Ability to meet deadlines, organize and prioritize duties efficiently, and focus on many tasks simultaneously and in detail

Basic understanding of accounting and financial issues

Prefer a general knowledge and interest in a variety of musical artists, genres and repertoire

Knowledge of and interest in concert production

Ability and desire to work long hours as required; flexible schedule

Must own a reliable car and have clean driving record

Must be able to purchase and handle alcohol

Ability to work with artists, agents and managers in sensitive situations

Resourceful and forward-thinking problem solver. Customer service oriented in all industry and interoffice interaction.

Resilient, indefatigable, positive attitude

How to apply:

Complete the online application by clicking here. 

Complete the application with all pertinent information.

At the end of the application, a confirmation page will appear when your submission has been successful

The Los Angeles Philharmonic Association will consider for employment qualified Applicants with Criminal Histories in a manner consistent with the requirements of the FCIHO.

Contact: Email: Phone: Addressee: Address:  Website:  Deadline: 04-14-2018