LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

14 Terabytes of Burnin' Love

Non-Broadcast Production Article from The Creative COW Magazine


Creative COW Magazine presents - 14 Terabytes of Burnin' Love



Bevin BaddorfBevin Baddorf
Memphis, Tennessee USA

©2008 Bevin Baddorf and CreativeCOW.net. All rights reserved.

Article Focus:

Elvis Presley Enterprises took its video production in-house - into Graceland, one of the most famous houses in the world. But with 14TB of archived film and video, they're already running out of room...




When I heard through a friend that Elvis Presley Enterprises was creating a new archivist position, I knew I had to hear more.

I found that they'd invested heavily to take production in-house, including a full FCP suite with over 14TB of mirrored storage. Their first goal was to keep all their archived video and film at their fingertips, rather than call it up from the archive one piece at a time.

The goal from there was to take advantage of the expanding creative options we have for ways and places to tell the story of Elvis's life and work.

My degree had focused on "current history," the film, TV, music and literature that impacts our culture. And by the time I visited EPE, I'd also been working full time in production for over a decade, putting theories about the creative process into action.

This new position was a chance to combine my liberal arts education and my work experience, in my home town. It was a perfect fit.


A WEB OF RIGHTS

At this point, I think we have just about everything Elvis that exists. You never know, though. Every now and then we get a phone call or letter along the lines of "my uncle died, and here's some stuff in a box." Fans have donated a lot, either in their wills or just as a contribution, knowing that their mementos will be preserved by Elvis's estate.

We also have a lot of unique home movies that Elvis's friends or family shot, usually old 8mm that we've converted to video.

It's all part of a web of media and rights that emerged when Elvis passed away. You might not think so, but rights management is a big part of every job.

For example, our control is frequently limited to Elvis's image, but not the music. Those rights were mostly sold off during Elvis's lifetime. They're now largely held by Sony BMG, so we work hand in hand with Sony on most of our projects.

But rights to the majority of his films are held by Warner Home Video. They always try very hard to give us access to what we need. They realize that it benefits them as much as it does us -people see the clips and want to see the movies.

The point is that rights management is a very real issue for us, and whether the footage is for Elvis.com or playback for visitors to Graceland, we follow our agreements to the letter.

The 68 Comback Special echibit
The "'68 Comeback Special" exhibit

The "'68 Comeback Special" is one project we own all the rights for. ("Aloha from Hawaii" is another.) It originally aired on December 3, 1968, and we started preparing for Comeback's 40th anniversary celebration last year. We've built a '68-specific combination store and exhibit: the black leather suit, set lists, the director's shot list, as well as new video monitors showing footage we've selected from the archives.

We also have a lot of extra footage that wasn't originally broadcast. Many diehard fans have already seen some of it in the 3-DVD special edition of the Comeback special. We're showing some of it on Elvis. com, with even more of it on ElvisInsiders.com.

As a result of all this, my "average day" varies widely. It might find me: capturing Elvis footage or editing a special project for the archives, marketing, or PR; shooting interviews and b-roll with visiting celebrities or dignitaries; preparing footage for national networks to use in Elvis-related stories; working on Elvis content for our digital signage network; or duplicating existing projects for any and all of the above.

Video Editing Elvis


ELVIS PRESLEY TELEVISION

Creating presentations for Graceland itself is a special task. The 13.8 acre estate that was Elvis's home was opened to the public in 1982. Over 600,000 people visited there in 2007, over half of whom were under age 35. Both new and returning guests have very, very high expectations for what they'll see.

One of our major video platforms is EPTV, a digital signage network for Graceland visitors. The media lives on servers with software developed by Park Media for large venues and amusement parks. On top of that, EPE has a custom internal database, tracking all of the Elvis archival materials, in every medium.

Shooting formats and sources vary widely. They might include DV/DVCAM, Beta SP, Digibeta, DVCPRO HD, HDCAM, and archival film sources.

Output format also varies. Some projects are exclusively for the web, rendered in QuickTime, Windows Media, and Flash. Others run on the 41-inch digital signage monitors as high-bitrate MPEG-2 or WMV files.

(We're actually handling almost all of our HD footage as WMV. That's not necessarily the way that I would choose to go, but combining a variety of formats works best with these projects, and our server is a little more PC-friendly for now.)

I've become a big fan of Apple Compressor, running it straight out of Final Cut Pro. That's how I create the MPEG-2 program stream for EPTV, with the bitrate set as high as I can. The lowest I use is 6-8 Mbps, but I'll go up to 15-20 coming out of 2-pass VBR, which works out to around 8 minutes per gig.

It's overkill, but the server does such a nice job playing it, and it looks great. It doesn't look at all like what you think MPEG-2 would.

That video runs on part of the screen, with realtime tickers and special promos on the rest of the screen, in a 2.5 hour loop. After every 2 music videos in rotation, we have a 15-second spot, which helps pay for the monitors and system upkeep. For example, we've had a product tie-in with Reese's Peanut Butter Cups this past year a special edition with banana cream, to celebrate Elvis's love of peanut butter and banana sandwiches.

Elvis in Graceland

I upload my finished, compressed output to secure FTP. Then it goes over a fibre network to our main hub of monitors. I manage it off of my dedicated PC running the Park Media server.

The platform runs something like a layered AE file, or a Photoshop file one layer is background, one is the video file, one is banner ads. When I'm working off the Windows machine in the other room, I set the parameters for how each element works along with positioning and timing.

I have all the videos and other elements in a loop that starts at 7 AM. As we get to 8 PM, I rotate in "Thank you for visiting."

Even with all this compression, 14TB isn't close to adequate for our needs. We're looking at the most efficient way to store what we have, as well as managing the new HD footage coming in. Pro Res looks interesting, but without a lot of extra effort, it's not going to help us with the decades of work we've already put into archiving.

We're still trying to figure it all out.


THE BEST PART OF THE JOB?

Elvis, pure and simple.

I've worked in production long enough to know the benefits and pitfalls of working anyplace full time. I also understand that in most full-time jobs, you normally find yourself excited about 20% of your work, while the other 80% just pays the bills.

There's also the real danger in dealing with the same topic everyday that you'll lose any kind of excitement towards your subject matter.

That's just one more area where Elvis blows everyone else away. It's impossible to ever get tired of any of it, starting with an office at Graceland. It's like working for a superhero, famous historical figure, and rock star, all rolled into one. There are so many facets to work with that it's truly amazing.


All of us at the COW would like to thank Elvis Presley Enterprises for allowing Bevin Baddorf to give our readers this rare look inside the inner workings of Graceland.



Bevin Baddorf Bevin Baddorf
Memphis, Tennessee USA

"I look for camera information at the COW," says Bevin. "Whether for a camera we rent or are considering buying, I like hearing from all the people actually using it." Bevin's email address ends with "@ elvis.com." How cool is that?



Find more great Creative COW Magazine articles by signing up for the complimentary Creative COW Magazine.


Related Articles / Tutorials:
Broadcast Video
Best Nonlinear Editing System Report

Best Nonlinear Editing System Report

As the three companies showing their best wares in the Nonlinear Editing System category vie for attention in the broadcasting and post-production world at NAB 2010, some of the glitter caught Walter Biscardi's eye, but others left him wondering if they can keep up. Read on for more insight on what he saw at NAB...

Review, People / Interview
Walter Biscardi
Broadcast Video
In-Stadium Sports TelevisionIn-Stadium Sports Television

In this article from The Creative COW Magazine, Matt Montemayor gives a behind the scends look at BravesVision, the in-house video production team for the Atlanta Braves baseball team. Matt describes the parts and process that makes the whole show happen from the switchers and software to the stats display and the largest HD display in the world.

Feature
Matt Montemayor
Broadcast Video
Non-fiction TV ProductionNon-fiction TV Production

We often know each other in the Cow from the problems and solutions we share with each other, and very rarely the WORK that we actually do. Allow us to introduce then, a handful of Cows involved in various aspects of non-fiction television production. This covers everything from food and fishing to creating tasteful head wounds. With over 550,000 people passing through the Cow, this is only a brief introduction, but we have to start somewhere, dont we?

Feature
Tim Wilson
Broadcast Video
11 Deadlines a Day11 Deadlines a Day

Andrea found herself with her hands more than full during an unplanned personnel shortage at WJLA, Washington DC affiliate of ABC: so, responsible for creating all the news promos for the sweeps run of the ABC affilate, 11 times daily, she leveraged all her best methods. What happened at 5 PM on the last day of sweeps? Lets see...

Feature
Andrea Laign
Broadcast Video
Read The Book! Real-world Broadcast SpecsRead The Book! Real-world Broadcast Specs

Your TV show isn't ready to air until the STATION says it's ready to air. The good news is that they're clear about what they want from you. Longtime TV vet and Creative COW leader Walter Biscardi tells you some of the things to look for...and some of the things to look OUT for.

Feature
Walter Biscardi
Broadcast Video
Alternate HDV Workflows Using HDMIAlternate HDV Workflows Using HDMI

Diggint out of a common video production sandtrap with HDMI - In this day and age where time is money, I've found a fast, affordable, all-digital alternative to native HDV workflows, featuring the somewhat clandestine and covert HDMI connection.

Tutorial
Michael Palmer
Recent Articles / Tutorials:
Field Production
“Before I forget: don’t wear any underwear.”

“Before I forget: don’t wear any underwear.”

Before coming to Creative COW, before his lives in product marketing and product management at Avid and Boris FX, Creative COW Editor-in-Chief Tim Wilson ran a video production company. As we also observe the 100th Anniversary of the founding of the US Parks Service, Tim recalls one one especially memorable adventure to Everglades National Park, wherein he found himself quite literally up to his armpits in alligators. He had no idea that this was going to happen when the day began. At the time, he was focused on a brand new fear: getting sliced in half by burning underwear.

Editorial, Feature, People / Interview
Tim Wilson
Art of the Edit
The Science of Editing

The Science of Editing

Sven Pape, aka @ThisGuyEdits, joins Dr. Karen Pearlman -- former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards -- for a provocative look at "Editor's Thinking," a cognitive skill set that you can use to improve your screenplay before you start principal photography of your film.


Sven Pape
Panasonic Cameras
Shooting MTV's Mary + Jane with Panasonic VariCam 35

Shooting MTV's Mary + Jane with Panasonic VariCam 35

To shoot the ½ hour scripted comedy series for MTV, Mary + Jane, the producers at Television 360 enlisted cinematographer Charles Papert (Crazy Ex-Girlfriend, Key and Peele), who found that Panasonic VariCam is a great fit for moving fast and getting great images when time and resources are scarce.


COW News
Adobe After Effects
Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-in for Adobe brings all the amazing features of the professional version of the mocha Planar Tracker directly into After Effects and Premiere Pro in the form of a plugin. In this in-depth review, After Effects tutorial guru Tobias Gleissenberger of Surfaced Studio will show you what you can do with this new plug-in, and discuss what he likes and doesn't like about the new update.

Tutorial
Tobias Gleissenberger
MORE
© 2016 CreativeCOW.net All Rights Reserved
[TOP]