There are several subjects I wanted to address in this post. First of all, we finally have the additional video that we shot in early spring at the Ft. Lauderdale Museum of Fire & Safety. I've reviewed it a few times and looks like it will add some better explanations, voice-overs, etc., to what we shot in San Francisco last year. I might be overly optimistic, but I could see the new "teaser-reel" being reading in the next 4-6 weeks. We'll be sure to post some snippets on the web site or Facebook in the near future.
(If you have an interest in the fire service and you're heading to South Florida, you should make a point of stopping by and visiting the museum http://bit.ly/p5VA0U)
Whether active or retired, the four letters that no firefighter wants to hear, are LODD - Line of Duty Death. When this tragedy happens on the fireground, as happened in Worcester, MA, Pompey, NY, and Charleston SC, to name a few, the stories are usually spread all over the media. From the live reports of "Eyewitness News," to large, dark headlines in daily newspapers, the news of a firefighter or firefighters dying "in the line of duty," is all-too-often understood to mean that they died from the fire, or a collapse, entrapment, etc.
However, that understanding is actually a misunderstanding, for the majority of firefighter LODD that occur in this country often happen no where near a fireground or rescue scene. Instead, they happen in the firehouse, at home, at the gym, and other mundane locations. For many of these tragic losses might have been prevented if the person/people concerned had taken better care of themselves.
Look, we all agree that those of us in the fire service are the crazy ones - we run into a building everyone else is running out of. And we're also the ones ready to rush to someone's - anyone's aid, at the drop of hat. But who rushes to our aid? Who takes care of the firefighters who do not take care of themselves?
One of the leading industry magazines is "Firehouse," under the terrific leadership of long-time editor, Harvey Eisner. Each month's issue contains one dedication to firefighters who died in the line of duty and a second and separate listing of firefighters, rescue personnel, and affiliated civilians who died in the line of duty. And in almost every dedication or listing, the smallest number is attributed to an actual occurrence on the fireground. The rest are often either road accidents and/or personal health issues. And with nearly 70% of this country's life and property protect by volunteer or paid-on-call firefighters, the men and women dying are our neighbors and, God forbid, our family.
So, how are these deaths attributed to LODD? The actual standards are developed by government and professional organizations, such as the NFPA (National Fire Protection Association). Thus, if a firefighters dies on the way to a call, on the way home, during the night after a call or a strenuous training exercise, etc., the death is classified as LODD. In a recent issue, a rescue responder, who had developed Hepatitis as a result of performing mouth-to-mouth resuscitation more than a decade ago, was declared an LODD. But those type of attributions are few and far between. All too often, it happens either on the way to, or subsequent to, a training exercise or actual call.
And we, the firefighters and rescue personnel, are our own worst enemy. Because we will always make time ti help someone else, but we're too damned busy to take care of ourselves! We're told we have to lose weight, improve our conditioning, stop smoking, reduce stress, etc., but we're too busy to do so. And if today's American fire-rescue crews do not start taking better care of ourselves, our families, neighbors, and communities are going to suffer. Being a firefighter is not the once glorified job it used to be when I was a kid, or even ten years ago after 9-11 and the loss of our 343 brothers. Weeks later, fire departments across the country were swamped with applications. Yet today, with civil cut-backs, loss of benefits, both union and personal, and the ever-growing need for the heads-of-households to work two jobs each, the "job" isn't as attractive as it once was. And please, visit the National Fallen Firefighters Foundation at www.firehero.org
It's time we take care of number one or we'll all be stepping in "number two."
Speaking of 9-11, it's hard to believe that the 10th anniversary is almost upon us. The pundits and "news" stations are already rolling the videotapes of that terrible day and it seems that after what this country just went through regarding our debt crisis, we should be ashamed of ourselves to look back and see our "loyalty" after that tragic time; flags fluttering from almost every vehicle and flying from homes and buildings. No "red" or "blue" states, just one country of Red, White, and Blue!
Is history bound to repeat itself? Are we all going to be Americans for just one day, again and then return to our bickering and squabbling? Are we not greater than this? What will it take for us to join hands as a country again, and come together to govern and lead our country?
With that in mind, what are you going to do on September 11, 2011? There's a national organization you can check out, http://bit.ly/nx53vA or check with your own communities to see what they are planning. At the very least, visit a local firehouse, whether it's on a shaded, rural road or in the heart of "Da Bronx," and say, "Thank you." Oh, and it wouldn't hurt if you also added, "And please take care of yourselves, too!"
A brief post-script here: A big "hello" to a great friend of mine from my early firefighting days in Guilford County, NC, Roger Brooks. Roger was one of three, rotating duty-men, who worked the 24/48 shifts. He's a great guy and was a terrific mentor to me. We were able to get together for the first time in nearly 20 years, a couple of weeks ago. He retired as a Captain, from the Greensboro Fire Department about three years ago. At his home, he showed me a beautiful "life-line" plaque, with every badge, stripe, and bugle he earned in his career in the fire service. But he also told me about a new project called, "The Thin Red Line." While it started by promoting the NC Fallen Firefighter Foundation, it has grown way beyond that. The thin red line represents us, the firefighters of your community, who always show up to face the "thin red line," and hold that line to the best of our ability, for as long as we can. Roger was kind enough to give me my first "Thin Red Line" wristband, and I've been wearing my own and passing new ones out to other firefighters or telling them about the project. For more information, visit www.ncfff.org. Thanks, Roger!
Till next time....
Thursday, August 4, 2011
Thursday, July 7, 2011
"Heh Coach-Please let me still play??
7/08/2011 - Just two days after the 265th celebration of this great country's bid for independence from under British rule, the facts and figures are still rolling in regarding the number of injuries, both light and severe, as well as any possoble deaths, from this year's displays, about forty-eight hours ago.
The averages in years past have fluctuated between 1,800 - 2,100 injuries reported, beginning with light, superficial burns to fingers and hands, all the way to the partial or total loss of eyesight, as well as partial and/or complete avulsions (sic, loss of...) fingers, hands, noses, and eyes, plus the accompanying partial or full hearing loss.
The problem we face in tracking down the true numbers and details, is that many villages, town, cities, and states, are often slow to characterize these injuries in their official report. And this reticence to provide accurate figures, comes on the heals of some of the strongest and well-funded campaigns to encourage citizens to use only those devices that meet the legal statutes of the community or state.
Yet in some communities where these efforts are undertaken, one might be able to visit any road-side tent or table selling fireworks, and find every manner of fireworks specifically excluded from the legalities of the state. In a community very close to where I reside in South Florida, the crowds before the 4th of July fill the parking lots, neighbors' lawns, and almost any other type of parking space, where buyers anxiously push through lines to get their 4 completely full shopping carts, which are full of all manner of illegal firewords, to the register. Outside the very same store, management has hired half a dozen county sheriffs'deputies to direct traffic around the busy shops. Meanwhile, there are deputies inside, to help keep the crowds orderly.
And here's the rub that spoils the party. In order to purchase all of the fireworks that are normally banned (i.e. any that emit sparks or shoots fiery balls into the air, or launches any burning piece into the air, the buyer must attest by signing an affadavit, and swearing that the aforementioned illegal aerial fireworks will be used to frighten birds away from rock quarries, sand pits, and other construction sites.Virtually, every affiant is taking a false oath and lying. He knows that and the shop's proprieter knows that. And do you know what? Almost all the cops who are working at the store and earning overtime pay, they know that affadavits are all false. So, if that's the case, what to they do?
They get in line to buy those same illegal fireworks for themselves, families, and neighbors.
Happy 4th All
The averages in years past have fluctuated between 1,800 - 2,100 injuries reported, beginning with light, superficial burns to fingers and hands, all the way to the partial or total loss of eyesight, as well as partial and/or complete avulsions (sic, loss of...) fingers, hands, noses, and eyes, plus the accompanying partial or full hearing loss.
The problem we face in tracking down the true numbers and details, is that many villages, town, cities, and states, are often slow to characterize these injuries in their official report. And this reticence to provide accurate figures, comes on the heals of some of the strongest and well-funded campaigns to encourage citizens to use only those devices that meet the legal statutes of the community or state.
Yet in some communities where these efforts are undertaken, one might be able to visit any road-side tent or table selling fireworks, and find every manner of fireworks specifically excluded from the legalities of the state. In a community very close to where I reside in South Florida, the crowds before the 4th of July fill the parking lots, neighbors' lawns, and almost any other type of parking space, where buyers anxiously push through lines to get their 4 completely full shopping carts, which are full of all manner of illegal firewords, to the register. Outside the very same store, management has hired half a dozen county sheriffs'deputies to direct traffic around the busy shops. Meanwhile, there are deputies inside, to help keep the crowds orderly.
And here's the rub that spoils the party. In order to purchase all of the fireworks that are normally banned (i.e. any that emit sparks or shoots fiery balls into the air, or launches any burning piece into the air, the buyer must attest by signing an affadavit, and swearing that the aforementioned illegal aerial fireworks will be used to frighten birds away from rock quarries, sand pits, and other construction sites.Virtually, every affiant is taking a false oath and lying. He knows that and the shop's proprieter knows that. And do you know what? Almost all the cops who are working at the store and earning overtime pay, they know that affadavits are all false. So, if that's the case, what to they do?
They get in line to buy those same illegal fireworks for themselves, families, and neighbors.
Happy 4th All
Tuesday, April 12, 2011
We Who Sacrifice Are Being Sacrificed!
"WANTED DEAD OR ALIVE"
I recently opened the latest edition of "Firehouse" magazine. On the Editor's Page, there's a copy of an old "WANTED" poster. The face was blank below a fire helmet. I added the edited version above. Either way, it's a sad truth of the times, on multiple levels.
First, in almost any and every municipality's budget discussions, the fire service is often served up, frequently, first, as the sacrificial lamb. Be it a volunteer, combo, or career department, their budget is ripe for the chopping block. Whether it deals with pensions, pay-rates, personnel, and/or equipment, fire-rescue service budgets are being sliced and diced as if they were in a Ron Popeil, "AS SEEN ON TV" hand-slapping chopper!
So what does the above have to do with our saga and efforts? The connection is quite simple: the TV executives are treating the fire service the same way, as a pariah.
It was almost a decade ago that members of the fire-rescue, EMS, and police services, were the heroes of America. Every politician couldn't wait to get have his/her picture taken with a member of the emergency services. Of course, after the tremendous sacrifice of our 343 brothers from the Fire Department of New York, firefighters became the "darlings" of the politicians and public alike. All around the country, people would stop in to visit their local firehouse; families would bring cakes, brownies, even entire meals for a shift. Pictures were taken of thousands of kids sitting on apparatus, wearing helmets and turn-our gear that were multiple sizes too big. And smiles were on everyone's faces.
Now ten years later, we're the pariah, the "enemy." The budget crisis being faced by villages and towns, cities, states and the feds, are being blamed on unions, especially those of the emergency services. Never mind that a fire department may be a 100% volunteer organization, whatever benefits they are entitled to (usually relating to Line of Duty Disability or Death) are being cut wherever possible. Money for turn-out gear, equipment, and apparatus has been or is being allocated to different areas or trimmed to the point of being useless, if there is any left at all.
The same holds true for television. A decade ago, every major cable/satellite network couldn't program enough hours of fire-rescue footage. From old episodes of "Emergency" to the latest reality-style ride-alongs, prime-time was full of flashing red lights and wailing sirens. Sponsors might wait in line to sign up to have their products seen on one of these shows. It was a great time to stand up as a member of the emergency services.
Today, we're old hat. The production company in LA that we've been working with for the past year, has gone to numerous production meetings with the networks. They're looking for the next "big thing," something with substance and meaning like, "Jersey Shore," Teen-Age Mothers," and "Swamp Men." Not to say anything about our brothers and sisters in blue, but their shows are continuously making the airwaves. Besides, "COPS," we've recently seen reality police shows about female police officers, especially those who work in vice (prostitution) and narcotics. There's even a new one, based right here in Broward County, about police dogs. And that's fine. I'm glad that at least one branch of the emergency services has a spotlight.
But what about us? Try to propose a reality show about the fire-rescue service, even one that is not a ride-along, and before you can even finish the word, "fire," you're shown to the door, ordered never to return until you can bring a show about, cheating, cross-dressing firefighters, who secretly wed those teen-age mothers and move their new family to the Fire Island Shore!
All our agents have heard from the network buyers is, "Don't bring us anything connected to the words, "fire" or "rescue." They are not even given an opportunity to present an idea that's never, ever, been done before (OK, like ours). And to me, what is so ironic, is that in the event of an emergency at their place of business or their home, each one of them will most likely dial "911" and eagerly await the members of their local fire-rescue agencies. And when their emergency has been mitigated, they will proffer their profuse appreciation, perhaps with words like, "We don't know how to thank you."
You know what? It's about time that we start providing them with a suggestion for how they could thank us. And I'm not just talking about our show. I'm talking about the fire-rescue service in general. Look at procedural dramas. There are close, if not more, than a dozen police dramas on TV today. When was the last time you saw one about the fire service? Was it ""Firehouse" with the actor who played Ben Casey, or was it "Code Red," with Lorne Greene?
So next time you have pause to think of a way to thank your local fire-rescue services for assisting you through an emergency, bake the brownies, but also, drop a line to the big cable/satellite networks and ask them, "Where's your show about the fire-rescue service?"
I recently opened the latest edition of "Firehouse" magazine. On the Editor's Page, there's a copy of an old "WANTED" poster. The face was blank below a fire helmet. I added the edited version above. Either way, it's a sad truth of the times, on multiple levels.
First, in almost any and every municipality's budget discussions, the fire service is often served up, frequently, first, as the sacrificial lamb. Be it a volunteer, combo, or career department, their budget is ripe for the chopping block. Whether it deals with pensions, pay-rates, personnel, and/or equipment, fire-rescue service budgets are being sliced and diced as if they were in a Ron Popeil, "AS SEEN ON TV" hand-slapping chopper!
So what does the above have to do with our saga and efforts? The connection is quite simple: the TV executives are treating the fire service the same way, as a pariah.
It was almost a decade ago that members of the fire-rescue, EMS, and police services, were the heroes of America. Every politician couldn't wait to get have his/her picture taken with a member of the emergency services. Of course, after the tremendous sacrifice of our 343 brothers from the Fire Department of New York, firefighters became the "darlings" of the politicians and public alike. All around the country, people would stop in to visit their local firehouse; families would bring cakes, brownies, even entire meals for a shift. Pictures were taken of thousands of kids sitting on apparatus, wearing helmets and turn-our gear that were multiple sizes too big. And smiles were on everyone's faces.
Now ten years later, we're the pariah, the "enemy." The budget crisis being faced by villages and towns, cities, states and the feds, are being blamed on unions, especially those of the emergency services. Never mind that a fire department may be a 100% volunteer organization, whatever benefits they are entitled to (usually relating to Line of Duty Disability or Death) are being cut wherever possible. Money for turn-out gear, equipment, and apparatus has been or is being allocated to different areas or trimmed to the point of being useless, if there is any left at all.
The same holds true for television. A decade ago, every major cable/satellite network couldn't program enough hours of fire-rescue footage. From old episodes of "Emergency" to the latest reality-style ride-alongs, prime-time was full of flashing red lights and wailing sirens. Sponsors might wait in line to sign up to have their products seen on one of these shows. It was a great time to stand up as a member of the emergency services.
Today, we're old hat. The production company in LA that we've been working with for the past year, has gone to numerous production meetings with the networks. They're looking for the next "big thing," something with substance and meaning like, "Jersey Shore," Teen-Age Mothers," and "Swamp Men." Not to say anything about our brothers and sisters in blue, but their shows are continuously making the airwaves. Besides, "COPS," we've recently seen reality police shows about female police officers, especially those who work in vice (prostitution) and narcotics. There's even a new one, based right here in Broward County, about police dogs. And that's fine. I'm glad that at least one branch of the emergency services has a spotlight.
But what about us? Try to propose a reality show about the fire-rescue service, even one that is not a ride-along, and before you can even finish the word, "fire," you're shown to the door, ordered never to return until you can bring a show about, cheating, cross-dressing firefighters, who secretly wed those teen-age mothers and move their new family to the Fire Island Shore!
All our agents have heard from the network buyers is, "Don't bring us anything connected to the words, "fire" or "rescue." They are not even given an opportunity to present an idea that's never, ever, been done before (OK, like ours). And to me, what is so ironic, is that in the event of an emergency at their place of business or their home, each one of them will most likely dial "911" and eagerly await the members of their local fire-rescue agencies. And when their emergency has been mitigated, they will proffer their profuse appreciation, perhaps with words like, "We don't know how to thank you."
You know what? It's about time that we start providing them with a suggestion for how they could thank us. And I'm not just talking about our show. I'm talking about the fire-rescue service in general. Look at procedural dramas. There are close, if not more, than a dozen police dramas on TV today. When was the last time you saw one about the fire service? Was it ""Firehouse" with the actor who played Ben Casey, or was it "Code Red," with Lorne Greene?
So next time you have pause to think of a way to thank your local fire-rescue services for assisting you through an emergency, bake the brownies, but also, drop a line to the big cable/satellite networks and ask them, "Where's your show about the fire-rescue service?"
Friday, February 18, 2011
We Continue to Move Along...
Well, he we are five weeks later. And guess what? No bad news! As a matter of fact, things are progressing nicely.
Joel and I got together just over a week ago to write the new script for the new pitch-reel. I had contacted the fire department of the community in which I live to shoot the video here. However, that was several weeks ago and the last I had heard from their PIO was that our request had been forwarded to the city attorney. Why it had to go there, considering we were not showing their name, we were not doing any ride-alongs, etc., only Heaven knows. Anyway, we sent our the script to the rest of the partners and got some great ideas back for some minor revisions and shooting angles.
In the meantime, Joel contacted a friend with the Ft. Lauderdale Fire Department, explained our plan to them and they welcomed us with open arms. So, if all goes as planned, we'll be shooting the video next week, Wednesday through Friday, as needed.
For this shoot, we're bringing in the "big guns," Mike Zimmer, the former chief videojournalist for the local NBC affiliate. Mike is a ten-time EMMY-award winner, as well as a winner of both the DuPont and Peabody awards. He also served as the president of the South Florida Super Bowl Host Committee last year. Oh yeah, and he produces and shoots his own show, "Sportsman's Adventures with Rick Murphy," which airs on Sun Sports Network.
From a personal standpoint, it's nice to be able to look forward to working on this show again, And though there are no guarantees ahead of us, we are making forward progress. We're doing some things out-of-order, such as shooting the pitch-reel before we actually re-write the treatment for the show. However, since we're taking a whole new direction from what we shot in San Francisco (under poor direction), that's OK. BTW, did I mention that when the video is ready, we going to let you, our followers see it and let us know what you think. We'll post it on You Tube (DalmatProd), Facebook (search for Dalmatian Productions, Inc.) and right here on the blog. So you have that to look forward to!
Til next time...
Joel and I got together just over a week ago to write the new script for the new pitch-reel. I had contacted the fire department of the community in which I live to shoot the video here. However, that was several weeks ago and the last I had heard from their PIO was that our request had been forwarded to the city attorney. Why it had to go there, considering we were not showing their name, we were not doing any ride-alongs, etc., only Heaven knows. Anyway, we sent our the script to the rest of the partners and got some great ideas back for some minor revisions and shooting angles.
In the meantime, Joel contacted a friend with the Ft. Lauderdale Fire Department, explained our plan to them and they welcomed us with open arms. So, if all goes as planned, we'll be shooting the video next week, Wednesday through Friday, as needed.
For this shoot, we're bringing in the "big guns," Mike Zimmer, the former chief videojournalist for the local NBC affiliate. Mike is a ten-time EMMY-award winner, as well as a winner of both the DuPont and Peabody awards. He also served as the president of the South Florida Super Bowl Host Committee last year. Oh yeah, and he produces and shoots his own show, "Sportsman's Adventures with Rick Murphy," which airs on Sun Sports Network.
From a personal standpoint, it's nice to be able to look forward to working on this show again, And though there are no guarantees ahead of us, we are making forward progress. We're doing some things out-of-order, such as shooting the pitch-reel before we actually re-write the treatment for the show. However, since we're taking a whole new direction from what we shot in San Francisco (under poor direction), that's OK. BTW, did I mention that when the video is ready, we going to let you, our followers see it and let us know what you think. We'll post it on You Tube (DalmatProd), Facebook (search for Dalmatian Productions, Inc.) and right here on the blog. So you have that to look forward to!
Til next time...
Wednesday, January 12, 2011
A New Year...A New Production Company...A New Direction...... Does That Equal a New Chance?
First off, Happy New Year to one and all. I apologize for the passage of a considerable amount of time since our last posting, however we have been riding quite a roller-coaster in the Hollywood-TV Programming roller coaster during all that time. So let me recap...
For most of the late summer and fall, we were waiting for our former production company to edit and produce our teaser reel. This is a 3-5 minute video that our agent would show to the network A&D (Acquisition and Development) people to gauge their interest and/or make a sale. Thus, it is a very important tool in our efforts to sell the show. After weeks and weeks of pleading, cajoling, and even some threatening, we finally received the first "cut" of the pitch reel.
While the moment was exciting, the product was just OK; nothing I'd write home about. We passed it around for all of us to see, which was followed by a company-wide conference call, during which we made a list of suggestions for "several" changes we felt necessary.
We sent our list out to L.A. and waited for the re-do. After a few more weeks, we receive the second cut and were unanimously...disappointed! To be honest, for the most part, it sucked. After all this time, months after we had been to San Francisco, we had nothing more than a promo for any run-of-the-mill fire reality show. And that is not was we are about.
After sending emails back and forth, the trail went "cold," i.e., we cannot get any reply from L.A. After several additional weeks, two of the partners met with the production company in Los Angeles and for all intents and purposes, "called them out." It was time for them to sh*t or get off the pot. It began as an acrimonious meeting, then settled into a more professional one. We finally thought we had hit the target.
Not so fast, my friends. After that meeting, we lost contact for over a month. Phone calls weren't returned (OK, that was nothing new), emails weren't answered, (OK, that wasn't new either). We just could not get a word from them.
Finally, close to Thanksgiving, we receive an email, out-of-the-blue, that tells us that our production company could no longer work with us on our program. Plain and simple. There had been no advance hint of this, by phone or email. To say that it took us by a kick-in-the-gonads surprise, would be an understatement.
In some ways, it was a relief, but that did not assuage the initial anger we felt upon receipt of that email. And after all this time, the least we deserved was an explanation.
That came several days later, when our L.A.-based partner, called to let me know that he had met with one of the principals and found out that the key partners in the company were going separate ways. In turned out that it had nothing to do with us or our project. And, had we not been so incensed when we received the email, we might have seen a "coded" message included, that basically said that the partner who wrote to us was still very interested in the project. The email, it turn out, was a legal requirement, as much for us, as it was for them.
It's taken until last week to start the ball rolling all over again. I had a very good conversation with our partner, finally ensconced in his new company and new contact info. In that conversation, we began the discussion as to how to re-tool the show back to our original concept, which would remain true to our fire/rescue background and promotion and add some fun, comedy, and great reality to the mix.
So that's the story. We hope to be back to work on the re-write by next week. Once that's done, we'll see what our production company's agent has to say about the idea and any constructive feedback she may have. If she likes it, then we'll plan a very quick trip to San Francisco to pick up some additional footage that will play into the re-write. Then, we start the process all over again.
Does it get discouraging and disappointing? If it didn't, it wouldn't be Hollywood. After over ten years of trying to launch a reality TV show about the fire/rescue service, we've learned to take the hard knocks. But this time, we've come with a little "secret weapon" that we hope will help us get the job done. What is it? If I told you, it wouldn't be a secret anymore, would it?
Till next time...
For most of the late summer and fall, we were waiting for our former production company to edit and produce our teaser reel. This is a 3-5 minute video that our agent would show to the network A&D (Acquisition and Development) people to gauge their interest and/or make a sale. Thus, it is a very important tool in our efforts to sell the show. After weeks and weeks of pleading, cajoling, and even some threatening, we finally received the first "cut" of the pitch reel.
While the moment was exciting, the product was just OK; nothing I'd write home about. We passed it around for all of us to see, which was followed by a company-wide conference call, during which we made a list of suggestions for "several" changes we felt necessary.
We sent our list out to L.A. and waited for the re-do. After a few more weeks, we receive the second cut and were unanimously...disappointed! To be honest, for the most part, it sucked. After all this time, months after we had been to San Francisco, we had nothing more than a promo for any run-of-the-mill fire reality show. And that is not was we are about.
After sending emails back and forth, the trail went "cold," i.e., we cannot get any reply from L.A. After several additional weeks, two of the partners met with the production company in Los Angeles and for all intents and purposes, "called them out." It was time for them to sh*t or get off the pot. It began as an acrimonious meeting, then settled into a more professional one. We finally thought we had hit the target.
Not so fast, my friends. After that meeting, we lost contact for over a month. Phone calls weren't returned (OK, that was nothing new), emails weren't answered, (OK, that wasn't new either). We just could not get a word from them.
Finally, close to Thanksgiving, we receive an email, out-of-the-blue, that tells us that our production company could no longer work with us on our program. Plain and simple. There had been no advance hint of this, by phone or email. To say that it took us by a kick-in-the-gonads surprise, would be an understatement.
In some ways, it was a relief, but that did not assuage the initial anger we felt upon receipt of that email. And after all this time, the least we deserved was an explanation.
That came several days later, when our L.A.-based partner, called to let me know that he had met with one of the principals and found out that the key partners in the company were going separate ways. In turned out that it had nothing to do with us or our project. And, had we not been so incensed when we received the email, we might have seen a "coded" message included, that basically said that the partner who wrote to us was still very interested in the project. The email, it turn out, was a legal requirement, as much for us, as it was for them.
It's taken until last week to start the ball rolling all over again. I had a very good conversation with our partner, finally ensconced in his new company and new contact info. In that conversation, we began the discussion as to how to re-tool the show back to our original concept, which would remain true to our fire/rescue background and promotion and add some fun, comedy, and great reality to the mix.
So that's the story. We hope to be back to work on the re-write by next week. Once that's done, we'll see what our production company's agent has to say about the idea and any constructive feedback she may have. If she likes it, then we'll plan a very quick trip to San Francisco to pick up some additional footage that will play into the re-write. Then, we start the process all over again.
Does it get discouraging and disappointing? If it didn't, it wouldn't be Hollywood. After over ten years of trying to launch a reality TV show about the fire/rescue service, we've learned to take the hard knocks. But this time, we've come with a little "secret weapon" that we hope will help us get the job done. What is it? If I told you, it wouldn't be a secret anymore, would it?
Till next time...
Tuesday, May 4, 2010
The Big, Bad Magnet and Basic Post-Production
To tell you the truth, the MRI wasn't that bad. And it's not like I've never had one before. Truthfully, I've had so many that I think I get "frequent tubing" miles for them and I'm a member of the "million miler" club, after the last eighteen years!
The strange thing about this one was the fact that it was in one of those traveling MRI trailer. The center I went to is under renovation and upgrading all their equipment. But to do so, they had to shut one machine down to take it out and until the new replacement comes in and is installed, they have to use this "portable" MRI. It had no sonic music system. So your only option is to take these two small, disposable ear plug and stick 'em in. Didn't make any difference. The noise was still about "first row at a KISS concert-right in front of the amplifiers" loudness. And, due to the fact that it was only my right knee, I was placed in the tube feet-first and only up to my waist. I'll see the doc tomorrow with the MRI images and get the verdict then. So be it.
Enough about me. Let's get back to the show. Today I finally had the chance to review and "edit" the agreement sent to me on the day before we were leaving for San Francisco, by company that is supposed to work with us to co-produce the "pitch video" and get the show sold to a major satellite/cable network. "What does that entail?" you ask. And I'll tell you.
We shot about 14 hours of video on two camera, plus a little more on a third, all in HD. The first thing that has to be done is called "logging" the video. On almost all video today, there are usually two "clocks;" the one you're used to when shooting the kids' birthday party with the time of day. The second clock, which you usually have to manually select on a consumer video camera, is called the "time code." This is a digital clock that has five places, beginning from the right would be:
00:00:00:00:Frames
00:00:00:Seconds:Frames
00:00:Minutes:Seconds:Frames
00:Hours:Minutes:Seconds:Frames
Days:Hours:Minutes:Seconds: Frames
Every video that you shoot has a "begin" point and an "end" point; basically when you press the "RECORD" button to start shooting a scene and when you press it a second time to pause your shooting. So the production assistant has to review ALL the video and log the following:
1. Start Time Code
2. End Time Code
3. Scene Description
4. Audio Description
5. Any other pertinent information the producer requests.
Now imagine doing that for fourteen hours of video! It's probably a 2-day, 10 hours per day job. Hah! And you thought TV production was glamorous!
Once the logging is done, the producer(s) sits with the editor to review the log chart and to start out some of the scenes he/she wants to see for possible inclusion in the final product. Bear in mind that most of those 14 hours were recorded with just the "pitch video" in mind. Yes, we'll use a lot of it in the episode featuring the San Francisco Fire Department, too. But for now, we'll be picking out the best 3-5 minutes of video from all of those 14 hours. Sound like fun, yet?
Well, that's it for now. Need to go and get my leg elevated to alleviate the throbbing!
Be good to each other!
Enough about me. Let's get back to the show. Today I finally had the chance to review and "edit" the agreement sent to me on the day before we were leaving for San Francisco, by company that is supposed to work with us to co-produce the "pitch video" and get the show sold to a major satellite/cable network. "What does that entail?" you ask. And I'll tell you.
We shot about 14 hours of video on two camera, plus a little more on a third, all in HD. The first thing that has to be done is called "logging" the video. On almost all video today, there are usually two "clocks;" the one you're used to when shooting the kids' birthday party with the time of day. The second clock, which you usually have to manually select on a consumer video camera, is called the "time code." This is a digital clock that has five places, beginning from the right would be:
00:00:00:00:Frames
00:00:00:Seconds:Frames
00:00:Minutes:Seconds:Frames
00:Hours:Minutes:Seconds:Frames
Days:Hours:Minutes:Seconds: Frames
Every video that you shoot has a "begin" point and an "end" point; basically when you press the "RECORD" button to start shooting a scene and when you press it a second time to pause your shooting. So the production assistant has to review ALL the video and log the following:
1. Start Time Code
2. End Time Code
3. Scene Description
4. Audio Description
5. Any other pertinent information the producer requests.
Now imagine doing that for fourteen hours of video! It's probably a 2-day, 10 hours per day job. Hah! And you thought TV production was glamorous!
Once the logging is done, the producer(s) sits with the editor to review the log chart and to start out some of the scenes he/she wants to see for possible inclusion in the final product. Bear in mind that most of those 14 hours were recorded with just the "pitch video" in mind. Yes, we'll use a lot of it in the episode featuring the San Francisco Fire Department, too. But for now, we'll be picking out the best 3-5 minutes of video from all of those 14 hours. Sound like fun, yet?
Well, that's it for now. Need to go and get my leg elevated to alleviate the throbbing!
Be good to each other!
Thursday, April 29, 2010
"With a Turn of the Word - It Wasn't My Heart I Left in San Francisco!"
Thanks to a social networking site, I was able to re-establish contact with a very good friend from days gone by; very good days gone by. And in the passing nearly forty years, I knew that she had fulfilled one of her dreams, of becoming an actress. Though now she busies herself with her husband, grown kids, and many community theaters, back in the '70's you might have spotted her on a little TV show called, "Happy Days," or in a theatrical release, called "Grease." More about her good wishes in a moment.
So, as I was about to leave at the end of last week for this trip to San Francisco to shoot the pilot for a new TV show, she gave me the long-traditional showbiz wish for a successful journey and endeavor "Break a leg." My problem was that I apparently took her at her literal word.
We had a great flight to San Francisco aboard Virgin America Airlines. For the most part, I would have given them a 9 on the proverbial 1-10 travel scale. Staff was very friendly, the seats, even in regular economy, afford a wider birth, as well as a couple of inches of additional leg room. Their entertainment system, found at every single seat, though some aspects have yet to be activated, is pretty good. If you ever travel to a location serviced by both JetBlue AND Virgin America, give VA a shot. I think you'll like the experience.
After pickup up the car (another saga all by itself), and about a 1/2-hour drive, we arrived at our hotel, The Intercontinental-Mark Hopkins, One Nob Hill. By far, this was one of the nicest hotels I've stayed in and yes, we did receive a reduced rate based that we were a media group AND we were also shooting a piece from my partner Joel's other business, Travel TV News. Rooms can be had mid-week for around $144++, which is decent, especially if you know the area and realize you are right across the street from the Fairmont! Not that there were not a couple of surprises as well. For example, the average tip for a bellman or chauffeur (who valet parks your car) is $5.00. Overnight valet parking is $50....YUP, FIFTY BUCKS, per night. Now you might be thinking, "Heck, I'm not going to spend $50 parking my car, I'll find a place on the street!" And that, my friend, is where you will be making your first mistake...there IS NO parking on the street throughout most of the City of San Francisco, especially in a ritzy neighborhood like Nob Hill. Even the public garage was $40.00, and they don't even let you take your car in and out, as the Intercontinental does. Also on the list of surprises was chipping in $12.95++ per 24-hour period for the most basic Internet service at 256 kbs and no access to a VPN. Though the hotel finally agreed to comp it for us because of what we did for them (shot another piece for TTN), it was too little to late, at least for me, since they did so at checkout.
Sunday morning, after a nice breakfast at one of the multiple "Mel's Diners" in San Francisco, we met Division Chief 03, Tom Siragusa. Now in the last 10-12 years, visiting departments all over the country, I have not met a more personable, knowledgeable, or nicer guy than Chief Siragusa. What was the best part was that his vision of what we would do with his gang at Station 7, was really close to what ours was. And sometimes, the Chief would find a better way for us to get those points across. As a matter of fact, he told us yesterday during our parting words, that if he had had more prior notice, he would have been glad to spend all of the days we were with the fire department, with us, even though two of those days would have been his days off.
We reviewed our plans, schedules and activities with the chief and quickly set about setting up our camera equipment, making sure our "host," Joel, was set to play his role, and got right to work shooting. Over the course of the four days with the department we shot over ten hours of video and mind you, they were neither on film or tape, but digitally on, what are called, "P2" cards. Think of them as your SD cards you use on your MP3 player, digital camera, or computer, but on "steroids," as the entire shoot was done in HD-High Definition.
Luckily, we only lost one day to weather, which was Tuesday. For Monday, we had scheduled an interview with the chief of the department, Chief Chief Joanne Hayes-White, for the morning and a ride aboard one of the department's two fire boats for that afternoon. (Hint, hint!!) Monday morning went fairly well, but there were some unexpected complications that had nothing whatsoever to do with the good ladies and gentlemen of San Francisco's Bravest.
Now we come to the "turn of the word." After lunch, we headed down to the Embarcadero which is where all the piers are. So if you plan on sailing out of San Francisco in the future, this is where you'll have to be. We arrived at Station 35, home to Engine 35 and the department's two fire boats. However, the station is under renovation (we could see why!), so the regular crew has been temporarily moved to a nearby firehouse. Here, we were met by a division chief who is in charge of the city's AWSS - Auxiliary Water Supply System. Dreamed up in 1903 by the then fire chief after the city had suffered multiple fires that destroyed a large part of the downtown area, the plan was to bury very wide pipes that could be supplied either with water from an inland, elevated, (you know how hilly San Francisco is) reservoir, or with bay water, pumped into the system from San Francisco Bay.
Unfortunately, the 1906 Earthquake occur ed, killing the fire chief immediately and igniting the Great Fire of 1906. However, once things had calmed down, the right people remembered the late chief's dream and started working to make it a reality. A large reservoir was excavated up in the Twin Peaks area that holds up to 10,3 million gallons of water. Additionally, two additional storage tanks were build with one holding nearly 750,000 gallons and the second with a 500,000 gallon capacity. Furthermore, the city constructed two large pumping stations, that still exist today, one located in the basement of Fire Headquarters and the second just outside of the pier area. Any of this water bypasses the public water supply and is directed to special, high capacity hydrants throughout the city. The water from the reservoir and two tanks is gravity-fed downward and the bay water is circulated by the massive steam pumps mentioned above. "Why such a massive back-up supply of water," you may ask. Because San Francisco is a peninsula, surround on three sides by water. The Fire Department must be self-sufficient for at least, 72 hours, when (not "if") the big even occurs.
There was a good wind off the water that day, as there is almost every day in the "City by the Bay." After the interview, we had to await for the firefighting crew (in addition to the boat crew of three, Captain, Engineer, and Hand) to arrive. Also traveling with us this day, besides my shooting crew, was the Chief of the Training Division and a high school senior who was shadowing him for the day. Well, after those two climbed down the pier ladder and arrived on deck, it was my turn...and what a turn it was.
I climbed down the iron ladder that led from the pier towards the boat. Now, with the renovations being down on the station house, a marine crane on a barge had been towed in and placed between the two fire boats. And being on a barge, every swing of its boom, up or down, left or right, created a responsive wave action all around the pier. I looked down and saw that I was one rung below the transom of the boat (the top rail). So I stepped up again one rung and got myself down with both feet on the transom.
Looking down, there were no steps to be seen so I reckoned that I had to get down the 3 1/2 feet or so from the transom to the deck, on my own. Now having had five surgeries on my left knee since 1977 and knowing that a knee replacement was in my future sometime between the age of 60-62, I knew there was no way I should go with that leg first. In hindsight, the smartest thing to have done was simply and easily jumped down with both feet together. But that's why hindsight is so damned accurate!
Instead, I decided to come down on my right leg and stepped of the transom to do so. As I did, the crane twirled, the waves bobbed and the boat slipped about a foot lower in the trough than I had anticipated. Thus I came down on my right leg without being balanced, whereupon the knee, quite promptly and quite painfully gave way. As I headed down, to fall upon the deck, the right side of my chest crashed against the manifold, a series of five brass ports, painted fire-boat red, to which hoses could be hooked up either to allow the boat to pump to engine companies or to pump seawater directly through hoses to fight a harbor blaze.
I crashed to the deck like a harpooned walrus, pulled over the side, squealing like a little piglet. Indeed, the pain was searing. Since three of the firefighters who had preceded me on board were also paramedics, that wasted little time attending to me to determine the extent of my injuries. We carefully straightened my bent right leg, which surprisingly hurt very little. Once done, I jiggled the knee a bit and the knee cap popped back into place. Hooray! A simple displacement of the patella and we're back in business. After a couple of minutes, with everyone calming down, I asked for their help and support in standing up and taking a few "baby steps" to see how I would do.
The first step was fine. The second felt better. The third, well, that one wasn't so good. My knee gave way again, very painfully, and I had to be helped to get to a sitting location. They had already called for one of the fire department ambulances to respond and now told them to keep on coming. So there was no doubt in any of our minds that I had quite plainly blew out my right knee; most likely by a tear of the meniscus and a torn MCL or ACL or both, if I had done it in BIG way!
There's more to tell, but we're descending down on our approach to Ft. Lauderdale. Tomorrow I see my orthopedist, I'll have an MRI next week and surgery soon after. So, to my sweet Judi, thank you for your words of good luck. I just need to not take them so literally next time!
So, as I was about to leave at the end of last week for this trip to San Francisco to shoot the pilot for a new TV show, she gave me the long-traditional showbiz wish for a successful journey and endeavor "Break a leg." My problem was that I apparently took her at her literal word.
We had a great flight to San Francisco aboard Virgin America Airlines. For the most part, I would have given them a 9 on the proverbial 1-10 travel scale. Staff was very friendly, the seats, even in regular economy, afford a wider birth, as well as a couple of inches of additional leg room. Their entertainment system, found at every single seat, though some aspects have yet to be activated, is pretty good. If you ever travel to a location serviced by both JetBlue AND Virgin America, give VA a shot. I think you'll like the experience.
After pickup up the car (another saga all by itself), and about a 1/2-hour drive, we arrived at our hotel, The Intercontinental-Mark Hopkins, One Nob Hill. By far, this was one of the nicest hotels I've stayed in and yes, we did receive a reduced rate based that we were a media group AND we were also shooting a piece from my partner Joel's other business, Travel TV News. Rooms can be had mid-week for around $144++, which is decent, especially if you know the area and realize you are right across the street from the Fairmont! Not that there were not a couple of surprises as well. For example, the average tip for a bellman or chauffeur (who valet parks your car) is $5.00. Overnight valet parking is $50....YUP, FIFTY BUCKS, per night. Now you might be thinking, "Heck, I'm not going to spend $50 parking my car, I'll find a place on the street!" And that, my friend, is where you will be making your first mistake...there IS NO parking on the street throughout most of the City of San Francisco, especially in a ritzy neighborhood like Nob Hill. Even the public garage was $40.00, and they don't even let you take your car in and out, as the Intercontinental does. Also on the list of surprises was chipping in $12.95++ per 24-hour period for the most basic Internet service at 256 kbs and no access to a VPN. Though the hotel finally agreed to comp it for us because of what we did for them (shot another piece for TTN), it was too little to late, at least for me, since they did so at checkout.
Sunday morning, after a nice breakfast at one of the multiple "Mel's Diners" in San Francisco, we met Division Chief 03, Tom Siragusa. Now in the last 10-12 years, visiting departments all over the country, I have not met a more personable, knowledgeable, or nicer guy than Chief Siragusa. What was the best part was that his vision of what we would do with his gang at Station 7, was really close to what ours was. And sometimes, the Chief would find a better way for us to get those points across. As a matter of fact, he told us yesterday during our parting words, that if he had had more prior notice, he would have been glad to spend all of the days we were with the fire department, with us, even though two of those days would have been his days off.
We reviewed our plans, schedules and activities with the chief and quickly set about setting up our camera equipment, making sure our "host," Joel, was set to play his role, and got right to work shooting. Over the course of the four days with the department we shot over ten hours of video and mind you, they were neither on film or tape, but digitally on, what are called, "P2" cards. Think of them as your SD cards you use on your MP3 player, digital camera, or computer, but on "steroids," as the entire shoot was done in HD-High Definition.
Luckily, we only lost one day to weather, which was Tuesday. For Monday, we had scheduled an interview with the chief of the department, Chief Chief Joanne Hayes-White, for the morning and a ride aboard one of the department's two fire boats for that afternoon. (Hint, hint!!) Monday morning went fairly well, but there were some unexpected complications that had nothing whatsoever to do with the good ladies and gentlemen of San Francisco's Bravest.
Unfortunately, the 1906 Earthquake occur ed, killing the fire chief immediately and igniting the Great Fire of 1906. However, once things had calmed down, the right people remembered the late chief's dream and started working to make it a reality. A large reservoir was excavated up in the Twin Peaks area that holds up to 10,3 million gallons of water. Additionally, two additional storage tanks were build with one holding nearly 750,000 gallons and the second with a 500,000 gallon capacity. Furthermore, the city constructed two large pumping stations, that still exist today, one located in the basement of Fire Headquarters and the second just outside of the pier area. Any of this water bypasses the public water supply and is directed to special, high capacity hydrants throughout the city. The water from the reservoir and two tanks is gravity-fed downward and the bay water is circulated by the massive steam pumps mentioned above. "Why such a massive back-up supply of water," you may ask. Because San Francisco is a peninsula, surround on three sides by water. The Fire Department must be self-sufficient for at least, 72 hours, when (not "if") the big even occurs.
There was a good wind off the water that day, as there is almost every day in the "City by the Bay." After the interview, we had to await for the firefighting crew (in addition to the boat crew of three, Captain, Engineer, and Hand) to arrive. Also traveling with us this day, besides my shooting crew, was the Chief of the Training Division and a high school senior who was shadowing him for the day. Well, after those two climbed down the pier ladder and arrived on deck, it was my turn...and what a turn it was.
I climbed down the iron ladder that led from the pier towards the boat. Now, with the renovations being down on the station house, a marine crane on a barge had been towed in and placed between the two fire boats. And being on a barge, every swing of its boom, up or down, left or right, created a responsive wave action all around the pier. I looked down and saw that I was one rung below the transom of the boat (the top rail). So I stepped up again one rung and got myself down with both feet on the transom.
Looking down, there were no steps to be seen so I reckoned that I had to get down the 3 1/2 feet or so from the transom to the deck, on my own. Now having had five surgeries on my left knee since 1977 and knowing that a knee replacement was in my future sometime between the age of 60-62, I knew there was no way I should go with that leg first. In hindsight, the smartest thing to have done was simply and easily jumped down with both feet together. But that's why hindsight is so damned accurate!
Instead, I decided to come down on my right leg and stepped of the transom to do so. As I did, the crane twirled, the waves bobbed and the boat slipped about a foot lower in the trough than I had anticipated. Thus I came down on my right leg without being balanced, whereupon the knee, quite promptly and quite painfully gave way. As I headed down, to fall upon the deck, the right side of my chest crashed against the manifold, a series of five brass ports, painted fire-boat red, to which hoses could be hooked up either to allow the boat to pump to engine companies or to pump seawater directly through hoses to fight a harbor blaze.
I crashed to the deck like a harpooned walrus, pulled over the side, squealing like a little piglet. Indeed, the pain was searing. Since three of the firefighters who had preceded me on board were also paramedics, that wasted little time attending to me to determine the extent of my injuries. We carefully straightened my bent right leg, which surprisingly hurt very little. Once done, I jiggled the knee a bit and the knee cap popped back into place. Hooray! A simple displacement of the patella and we're back in business. After a couple of minutes, with everyone calming down, I asked for their help and support in standing up and taking a few "baby steps" to see how I would do.
The first step was fine. The second felt better. The third, well, that one wasn't so good. My knee gave way again, very painfully, and I had to be helped to get to a sitting location. They had already called for one of the fire department ambulances to respond and now told them to keep on coming. So there was no doubt in any of our minds that I had quite plainly blew out my right knee; most likely by a tear of the meniscus and a torn MCL or ACL or both, if I had done it in BIG way!
There's more to tell, but we're descending down on our approach to Ft. Lauderdale. Tomorrow I see my orthopedist, I'll have an MRI next week and surgery soon after. So, to my sweet Judi, thank you for your words of good luck. I just need to not take them so literally next time!
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