Locomotion Media Group, LLC
  • Welcome
  • Motion Pictures
  • Motion Graphics
  • Education
    • AM&I 2015 >
      • AM&I 2015 FINAL VIDEOS
      • Welcome to Duke AM&I
      • Course schedule >
        • Week 1 (Aug 27) >
          • Class Notes - Week 1
        • Week 2 (Sept 3) >
          • Class Notes - Week 2
        • Week 3 (Sept 10) Edit Lab #1 >
          • Class Notes - Week 3
        • Week 4 (Sept 17) Guac Premiere #1 >
          • Class Notes - Week 4
          • Story #1: Food Entrepreneurs
        • Week 5 (Sept 24) >
          • Class Notes - Week 5
        • Week 6 (Oct 1) Edit Lab #2 >
          • Class Notes - Week 6
          • How to set up and light an interview.
        • Week 7 (Oct 8) Guac Premiere #2 >
          • Class Notes - Week 7
          • Story #2: Arts Entrepreneurs
        • Week 8 (Oct 15) >
          • Class Notes - Week 8
        • Week 9 (Oct 22) >
          • Class Notes - Week 9
        • Week 10 (Oct 29) Edit Lab #3 >
          • Class Notes - Week 10
        • Week 11 (Nov 5) >
          • Class Notes - Week 11
        • Week 12 (Nov 12) Guac Premiere #3 >
          • Class Notes - Week 12
          • Story #3: Entrepreneurs
        • Week 13 (Nov 19)
        • Week 14 (Nov 26) No class!
        • Week 15 (Dec 3)
    • AMP 2016 >
      • AMP 2016 Final Videos
      • Welcome to Duke AMP
      • Course Schedule >
        • Week 1 (Aug 30) Intro >
          • AMP Week 1 Class Notes
        • Week 2 (Sept 6) Production Lab and Pitch 101 >
          • AMP Week 2 Class Notes
        • Week 3 (Sept 13) Edit Lab #1, Story #1 Pitch >
          • AMP Week 3 Class Notes
        • Week 4 (Sept 20) >
          • AMP Week 4 Class Notes
        • Week 5 (Sept 27) Edit Lab #2, Story #1 Rough Cut >
          • AMP Week 5 Class Notes
        • Week 6 (Oct 4) Guac Premiere #1 >
          • AMP Week 6 Class Notes
          • Story #1
        • Week 7 (Oct 11) Fall Break
        • Week 8 (Oct 18) American Underground, Story #2 Pitch >
          • AMP Week 8 Class Notes
        • Week 9 (Oct 25)
        • Week 10 (Nov 1) Production Lab #2 >
          • AMP Week 10 Class Notes
        • Week 11 (Nov 8) Edit Lab #3, Story #2 Rough Cut >
          • AMP Week 11 Class Notes
        • Week 12 (Nov 15) Guac Premiere #2 >
          • AMP Week 12 Class Notes
        • Week 13 (Nov 22) Final Presentation Preparation >
          • AMP Week 13 Class Notes
        • Week 14 (Nov 29) >
          • AMP Week 14 Class Notes
        • Week 15 (Dec 6) Final Presentations
    • AMP 2017 >
      • AMP 2017 Final Videos
      • Welcome to Duke AMP 2017
      • COURSE SCHEDULE >
        • Week 1 (Aug 29) Intro
        • Week 2 (Sept 5) Production Lab and Pitch 101
        • Week 3 (Sept 12) Edit Lab #1, Story #1 Pitch
        • Week 4 (Sept 19) PRODUCTION WORKSHOP
        • Week 5 (Sept 26) Edit Lab #2, Story #1 Rough Cut
        • Week 6 (Oct 3) Guac Premiere #1
        • Week 7 (Oct 10) Fall Break
        • Week 8 (Oct 17 American Underground, Story #2 Pitch
        • Week 9 (Oct 24) Production Lab #2
        • Week 10 (Oct 31) PRODUCTION WORKSHOP
        • Week 11 (Nov 7) Edit Lab #3, Story #2 Rough Cut
        • Week 12 (Nov 14) Guac Premiere #2
        • Week 13 (Nov 21) Final Presentation Preparation
        • Week 14 (Nov 28)
        • Week 15 (Dec 5) Final Presentations
    • AMP 2019 >
      • Welcome to Duke AMP 2019
      • MORE INFO >
        • Before we begin...
        • Resources
        • Story Requirements
        • Story Roles and Responsibilities
        • Coffee Talks
      • COURSE SCHEDULE >
        • Week 1 (Wednesday Jan 9th) Intro
        • Week 2 (Monday Jan 14th) Production Lab and Pitch 101
        • Week 3 (Jan 21) NO CLASS MLK
        • Week 4 (Jan 28th) Edit Lab #1, Story #1 Pitch
        • Week 5 (Feb 4th) PRODUCTION WORKSHOP
        • Week 6 (Feb 11th) Edit Lab #2, Story #1 Rough Cut
        • Week 7 (Feb 18th) Guac Premiere #1
        • Week 8 (Feb 25th) American Underground, Story #2 Pitch
        • Week 9 (March 4th) Production Lab #2
        • Week 10 (March 11th) Spring Break
        • Week 11 (March 18th) PRODUCTION WORKSHOP
        • Week 12 (March 25th) Edit Lab #3, Story #2 Rough Cut
        • Week 13 (April 1st) Guac Premiere #2
        • Week 14 (April 8th) Final Presentation Preparation
        • Week 15 (April 15th) Making the Pitch
        • Week 16 (April 22nd) Final Presentations
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Class Notes: Week 13

Learning about Josh Steadman (SteadyFilm)

Runs his own production company along with his wife. She’s the boss. She manages his life. Majority of his paying work comes from video. He is currently trying to build the stills part of his vusiness right now.

Webisodes, web spots, TV commercials, documentary style footage. Clients hire you to do libraries of footage. Split time between shooting, editing both video and stills. Hustle, find your new/next client and also maintain your current client relationships. Loves documentary style of interviewing people, loves looking through old photographs. Also does work for RedHat. It’s important to be flexible and also narrow it down to what you like to do.

Why stills? He’s always loved photography. He was inspired by his father. He always takes his camera with him and believes you should always be working as an artist. Likes working with dumbed down and difficult technologies.

Yo, Josh, how did you get there?

I went to Elon College. I was a Spanish major, spent some time in Ecuador. My senior year, I took a couple of film classes and I plugged into what I wanted. I graduated. There is no great path for getting into video production. Didn’t get into any film school or start working. I offered to work for free at a local video production store for about six months and then they hired me to be their low-paid production coordinator. I wasn’t anywhere near making images. It gave me access to the gear, which I didn’t know how to use. Made a relationship with Robert Wooten. You have to find people who are like-minded, a little further along, and willing to share.

Somebody is helping me at every stage of my career. There are still people I ask for help from. You have to keep knocking on doors.

Stay out of the tide before it sucks you down. Build yourself up as much as it beats yourself down.

SOmetimes with promos, the project has been in development for a long time. He was just contracted for a few days -- he was hired as the director. He was involved for four days. That didn’t stop him from following up a lot. When you’re hired as a shooter, you will shoot a bunch of stuff, but two thirds of your stuff isn’t great. You don’t want that stuff getting into the wrong hands and being used, making you look like an amateur. Go ahead and pull a render of selects instead of giving the entire collection of raw footage.

Supercut - Your favorite footage.

Currently, Josh uses whatever equipment is appropriate. He’s used Alexa, C300, iPhones. Lenses have specific character. He rents lenses for the project.

How do you get to know what the image from each lens looks like?

Good question, you roll the dice. Cooke makes some great lenses.

Cooke is warm, analog soft. Schneider are super sharp. ARRI are sharp, but not a lot of flavor. “Like sex on a camera.”

Slow motion -- I shoot no higher than 60 fps. Higher than that becomes more of an art piece.

How he captures humanity

-He has the ability to disappear.
-He gets them to act naturally.
-He observes.

Matt Head - “Best gaffer in town”
​

Reflections

​Working with others
Chris: How well is school preparing us for collaboration?
Lauren: How do you work with people you have fundamental disagreements with?
Lauren: How can I reject the cynicism?

Interviewing
​Lauren: Pointed out the “what’d you have for breakfast?” question
Marina: How much of the interview is edited out of the NPR piece?
​
​Reel
Marina: How do you go about sequencing a reel?

Post-Production
Sarah: Is there a way to fix the lighting issue that they ran into with Xia’s interview?

Final pitches
Summer: Talk about your idea for your final pitch

Notes from today
Josh works at Baldwin&

Match.com
-Heard alot about how it got started
-Saw a need, people were trying to find love

Importance of the timecode

Fred Bass
-Strand bookstore
-Hunter saw recognition since he had been there

Editorial responsibility is sometimes ignored in podcasts; sometimes it’s very stream of consciousness

How does Charlie Rose keep it interesting?

Referencing the soundcheck -- what did you eat for breakfast?
“What’d you have for breakfast?” or “What did you do last night?”
-The importance of listening and weaving conversations back into the interview
-More intimate, less of a stage

It seems difficult to tell a story by just asking a ton of questions?
-Match.com person seemed like a bad person

The ideal consumable audio podcast?
-15 minutes

Marina loves the long podcast format
The podcast really allows for audiences to have an intimate connection with a subject and even an interviewee

Up to the interviewer to take control of the interview. 
-You have to have a relationship with the person on camera. Even if you’re just the camera op, you have the responsibility to speak up. 
“Take a drink of water. Let’s take two minutes and then we’ll reset.”
-Josh just talks to subjects enough for them to calm down.
-Instead of prefacing them, he teases it out
-”Talk to me like I’m your mother, and you need to explain your job to me.”
-”Why do you even like working here?”
-*Act excited about it; act like you’re interested
-Be more hesitant in documentary work, but in branded content, coach a little more

Hunter brings up a play and the director just talking to an actor so much that they truly understand why you have to deliver a line a certain way. Being a good interview is just being a good director.

Actors are not just actors; they’re there to perform. They are there for you. People who are not interested in being there are difficult to direct. They don’t want to be there. 

Perhaps try playing the empathy card. Everybody is different and there is no formula to interviewing somebody.

“We’ve already talked about that.”
-Try moving to other topics and come back to the original topic.

Instagram story
-Interviewer gave away the story a little too early
-Subject wasn’t even that talkative
-Don’t put words in their mouth
-Danielle hated this story

Serges sums up this podcast as a need that NPR found but couldn’t throw a ton of resources towards
-Affirmation of hearing other people’s stories
-He was more forgiving because he understood what NPR was trying to do; he understood that the story was collected without tons of bandwidth.

3DJoes
-Meeting the founders allowed an opportunity to share their voices with the audiences who love them
-Sometimes people just want to hear the entire interview; sometimes people want the interviews to be tight and quick
-Know your audience
Picture

​Do you have a story to tell? Let us help!


Send us an email, or drop us a line on Facebook or LinkedIn using the links below. 

©2015-2023 Locomotion Media Group, LLC
  • Welcome
  • Motion Pictures
  • Motion Graphics
  • Education
    • AM&I 2015 >
      • AM&I 2015 FINAL VIDEOS
      • Welcome to Duke AM&I
      • Course schedule >
        • Week 1 (Aug 27) >
          • Class Notes - Week 1
        • Week 2 (Sept 3) >
          • Class Notes - Week 2
        • Week 3 (Sept 10) Edit Lab #1 >
          • Class Notes - Week 3
        • Week 4 (Sept 17) Guac Premiere #1 >
          • Class Notes - Week 4
          • Story #1: Food Entrepreneurs
        • Week 5 (Sept 24) >
          • Class Notes - Week 5
        • Week 6 (Oct 1) Edit Lab #2 >
          • Class Notes - Week 6
          • How to set up and light an interview.
        • Week 7 (Oct 8) Guac Premiere #2 >
          • Class Notes - Week 7
          • Story #2: Arts Entrepreneurs
        • Week 8 (Oct 15) >
          • Class Notes - Week 8
        • Week 9 (Oct 22) >
          • Class Notes - Week 9
        • Week 10 (Oct 29) Edit Lab #3 >
          • Class Notes - Week 10
        • Week 11 (Nov 5) >
          • Class Notes - Week 11
        • Week 12 (Nov 12) Guac Premiere #3 >
          • Class Notes - Week 12
          • Story #3: Entrepreneurs
        • Week 13 (Nov 19)
        • Week 14 (Nov 26) No class!
        • Week 15 (Dec 3)
    • AMP 2016 >
      • AMP 2016 Final Videos
      • Welcome to Duke AMP
      • Course Schedule >
        • Week 1 (Aug 30) Intro >
          • AMP Week 1 Class Notes
        • Week 2 (Sept 6) Production Lab and Pitch 101 >
          • AMP Week 2 Class Notes
        • Week 3 (Sept 13) Edit Lab #1, Story #1 Pitch >
          • AMP Week 3 Class Notes
        • Week 4 (Sept 20) >
          • AMP Week 4 Class Notes
        • Week 5 (Sept 27) Edit Lab #2, Story #1 Rough Cut >
          • AMP Week 5 Class Notes
        • Week 6 (Oct 4) Guac Premiere #1 >
          • AMP Week 6 Class Notes
          • Story #1
        • Week 7 (Oct 11) Fall Break
        • Week 8 (Oct 18) American Underground, Story #2 Pitch >
          • AMP Week 8 Class Notes
        • Week 9 (Oct 25)
        • Week 10 (Nov 1) Production Lab #2 >
          • AMP Week 10 Class Notes
        • Week 11 (Nov 8) Edit Lab #3, Story #2 Rough Cut >
          • AMP Week 11 Class Notes
        • Week 12 (Nov 15) Guac Premiere #2 >
          • AMP Week 12 Class Notes
        • Week 13 (Nov 22) Final Presentation Preparation >
          • AMP Week 13 Class Notes
        • Week 14 (Nov 29) >
          • AMP Week 14 Class Notes
        • Week 15 (Dec 6) Final Presentations
    • AMP 2017 >
      • AMP 2017 Final Videos
      • Welcome to Duke AMP 2017
      • COURSE SCHEDULE >
        • Week 1 (Aug 29) Intro
        • Week 2 (Sept 5) Production Lab and Pitch 101
        • Week 3 (Sept 12) Edit Lab #1, Story #1 Pitch
        • Week 4 (Sept 19) PRODUCTION WORKSHOP
        • Week 5 (Sept 26) Edit Lab #2, Story #1 Rough Cut
        • Week 6 (Oct 3) Guac Premiere #1
        • Week 7 (Oct 10) Fall Break
        • Week 8 (Oct 17 American Underground, Story #2 Pitch
        • Week 9 (Oct 24) Production Lab #2
        • Week 10 (Oct 31) PRODUCTION WORKSHOP
        • Week 11 (Nov 7) Edit Lab #3, Story #2 Rough Cut
        • Week 12 (Nov 14) Guac Premiere #2
        • Week 13 (Nov 21) Final Presentation Preparation
        • Week 14 (Nov 28)
        • Week 15 (Dec 5) Final Presentations
    • AMP 2019 >
      • Welcome to Duke AMP 2019
      • MORE INFO >
        • Before we begin...
        • Resources
        • Story Requirements
        • Story Roles and Responsibilities
        • Coffee Talks
      • COURSE SCHEDULE >
        • Week 1 (Wednesday Jan 9th) Intro
        • Week 2 (Monday Jan 14th) Production Lab and Pitch 101
        • Week 3 (Jan 21) NO CLASS MLK
        • Week 4 (Jan 28th) Edit Lab #1, Story #1 Pitch
        • Week 5 (Feb 4th) PRODUCTION WORKSHOP
        • Week 6 (Feb 11th) Edit Lab #2, Story #1 Rough Cut
        • Week 7 (Feb 18th) Guac Premiere #1
        • Week 8 (Feb 25th) American Underground, Story #2 Pitch
        • Week 9 (March 4th) Production Lab #2
        • Week 10 (March 11th) Spring Break
        • Week 11 (March 18th) PRODUCTION WORKSHOP
        • Week 12 (March 25th) Edit Lab #3, Story #2 Rough Cut
        • Week 13 (April 1st) Guac Premiere #2
        • Week 14 (April 8th) Final Presentation Preparation
        • Week 15 (April 15th) Making the Pitch
        • Week 16 (April 22nd) Final Presentations