Archive for History Lesson

To All The Folks I Labored with, On Labor Day, 2010

Since I started my career in 1972, I’ve worked for seven companies, including four that I founded and owned:

Sorgel-Lee Team from Baseball Card

The Sorgel-Lee Team, circa 1981

  • Sorgel-Lee Riordan (aka Sorgel-Lee Multimedia, Sorgel-Lee, and, after I left, Sorgel Studios)
  • Brien Lee & Company
  • Video Images
  • Visuals Plus
  • TVL
  • Brien Lee Creative Solutions
  • Brien Lee VideoStory

In all of these, I had hiring and firing responsibilities.

Most of these were in Milwaukee, with branches or side trips into the Chicago market, as well as New York / New Jersey market, where I am sitting now.

It’s a beautiful, temperate, sunny labor day morning. I’m sitting on the back porch typing, and thinking about a labor day with high unemployment rates and so little corporate reinvestment, in either equipment, outside services, or hires.

I’m looking over a nearly 40 year career and thinking about all the people that made it possible– the staff “laborers” who wrote scripts, mounted slides, directed shows,

First Creative Solutions Team

Creative Solutions Team, circa 2001

Mark Augustine & friend

Mark Augustine & friend

went on shoots, retyped scripts, cursed at computers, mixed soundtracks, edited video or film, and developed trusting clients. The people who were on the 24 hour edit benders, some miles from home, miles from the security of s normal job, who made me and our clients look so good. There were hundreds– we hired when the people were right, not the economy.

I think of creative suppliers who took our ideas and melded them into music, or animations, or dramatic footage, and the young “kids” with no resumes we hired who later became superstars in their own right. I’m proud of that.

I’m not going to name names. But do the math– one person was with me for 17 years, helped launch a branch in New York City, and worked on some of the earliest interactive video in history. A few others were with me for five years plus– including one person who pronounced s/he never stayed at one place for more than a year or

two. I guess we kept things interesting. I know we always trusted out employees’ talents.

As time flew by, some went on to start their own companies, or launch new careers in various new fields of endeavor.

They all had once thing in common– they took the work “labor” seriously. They worked hard. Beyond the call of duty. The learned lots, added much, and almost always

Amy Hansmann, Dan Ramsey

Amy and Dan edit a Walgreens spectacular

became better than me at their particular creative specialty.

I also had remarkable business partners over the years. But that’s a different story.

Here’s to hard work and hard workers. Happy labor day, and thank you, fellow workhorses.

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The Original PC, The Pre-PowerPoint “Electronic” Slide Show, and Physical vs. Digital Cut and Paste

The video below is a capture of the computer screen and interface for the programming language named “ProCall”, the name given to the software used to control multiple slide projectors in order to sync slides to sound and create a slide-show, or “Multi-image” show, as it and the industry built around it was known. What is seen here is the sequencing of a few speaker support slides, and then a “run”– a looping segment that will run onscreen for announcements, introduction, or to kill time until the loops is broken, and the slide projectors advanced by the next command.

Anywhere from 3 to 15 (or more) projectors were focused on a screen, timed to music, with sophisticated graphic effects, photo sequences, title animations all happening in a careful sequence. Timing was precise; manual operation was possible (next slide, please), and even infinite loop sequences for backgrounds or logo animations used during live speaker sequences were possible.

This was in effect a video-like immersive experience for audiences. Sound came off of multi-track magnetic tape recorders, so the sound was full fidelity. Film projectors could be controlled as well. In fact, all elements of a meeting could be controlled via these computer programs– speaker support, multi-image slide shows with sound; film rolls, lights, flash bulb effects, and more.

Why does an old guy like me know computers? Well, I had to program slide shows.

I also had to find a solution to the innumerable script changes I and my clients made.

Before computers, a-v scripts were written on “copy paper” cheap newspaper typing paper that was easy to cut with a ruler. Cutting and pasting was a matter of literally cutting and pasting. Cut the paragraph you wanted to move out of the paper, past it with a big glob of glue past underneath the paragraph were it was destined to go. Because the editing process is very important, my scripts were sometimes hundreds of paper paragraphs reordered and  glued together.

But there were more miracles to come. The popular operating system at the time was CP/M. It was not meant for portable computers but AVL and others (Most notably, Adam Osborne) adopted it for portable and stationary computing. AVL’s computers were at first in a big desk hogging chassis, then reduced to a one piece screen, two drive, computer configuration, and finally, to a luggable portable.

People began putting word processing and accounting programs on their AVL’s, and the personal computer era began. And of course there was Apple. Put a CP/M card in an Apple, and you were able to use WordStar, the word processing giant of the day.

Soon we were using the computer to cut and paste, I was writing a “how to compute” column for A-V / Video magazine, and slides were big business.

But video was coming, and I jumped out of the slide apple cart and into the video fire before other slide producers and began adapting what I had learned producing slides to the art of video.

Pacing, strong soundtracks, good stories– those things never change.

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To Slide or Not to Slide, That is the Question: Or, Why PowerPoint Doesn’t Have to Suck.

Old style Kodak slide

Slides are how we made our money and made our name.

I love slides. Grew up with them, made shows with them., started a business with them, made friends with them, won awards with them.

Today, the word “slides” has a revised but logical meaning: Powerpoint slides (or Keynote, if you prefer.)

On linkedIn, there is an ongoing discussion on whether speakers should uses slides or not. Actually, the very thought is even more daunting to these “Presentation Gurus” (the name of the group): the question was really “Is there ever a time when a speaker shouldn’t use slides?”

Here’s my quick answer:

Average speaker: No. Always use slides.

Good speaker: Maybe, depending on the size of the crowd. But take advice from a pro PowerPoint person or consultant.

Great Speaker: Yes, go without slides if you can see the eyes of everyone in the room. Or….

Great Speaker: No, use slides, if you’re speaking before 500 or up. Great speakers can use slides effortlessly, have slides that are appropriate and not overwritten, probably don’t even look at them during the presentation, and in many cases have an a-v technician changing the slides for him or her.

The best speaker I ever saw– and he always used slides– was former Chairman and CEO of Walgreens Dan Jorndt.

He could hold a room of 5000 or more in the palm of his hand. No podium. He danced across the stage, in a whirlwind of positive thought. His speeches were carefully written, but delivered in a breezy style that allowed for adlibbing, which he often did– or seemed to at any rate.

But Mr. Jorndt had a secret weapon. Behind the screen, or in the booth, and– for much of his career– behind a computer, was the head of the Walgreens Meetings and Media department, David Harnish. David is an important person at Walgreens. I fear the executives still don’t know HOW important. He is the keeper of the flame, the corporate culture, and the internal audio-visual face of Walgreens. He knows video, interactive, asset management, and of course, slides. And he knows creative communications as good as any client I ever had.

A blank slate: the PowerPoint Editing Interface

A blank slate: the PowerPoint Editing Interface

Slides more recently means PowerPoint.  But David started at Walgreens literally making “real” physical slides, first primarily on an early computer graphics system using Zenographics software, later  via video on the TVL electronic presentation system, and today, on PowerPoint. Don’t get me wrong: David no longer pushes buttons; but he continues to set the standard for how slides should support speakers, not dominate them.

He knows how many words to use, what photos or graphics are necessary, and what fonts work and don’t work. He knows layout and balance, much of it which might “break the rules” of the way PowerPoint wants you to lay things out.

Whether it was multiple slide projector speaker support, or TVL electronic slide speaker support, videodisc, or PowerPoint speaker support, David and Dan Jorndt made each other look great.

Now understand, I think Dan is a great speaker without slides. But with slides? oh, my.

So, to slide or not to slide, that is the question. When you’ve got a great speaker and a great support team, the answer isn’t so black and white.

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Are Audiences Stupid? Why Dumbing Down is a Dumb Thing to Do

In my decades-long video and meeting production career, there was one phrase that sent chills down my spine:

“Close enough for government work.”

This was another way of saying, “Good enough for those stupid people”, or “This audience doesn’t deserve my best work, or “I want to go home.”

What it said to me about that employee or colleague was that he or she didn’t care– about the audience or their own integrity. And that shortsightedness came from a stereotype of the average viewing audience: They’re impatient, stupid, and need everything spoon-fed.

Wow.

I mean, wow.

Is there any chance that these producers were right? Simply, are audiences stupid?

Look in the mirror. Are you?

The answer is no. Just because an audience doesn’t know the difference between a Red camera and a DVcam; Klieg lights vs. Kino-flo’s, or iambic pentameter from Mother Goose doesn’t mean they don’t know what is good. They are the audience. They are the biggest group of critics around, and they know what they like.

They like stories.

In Hollywood, they approve with their dollars. In business, they approve with action, commitment, or a bit of both.

They are us; we are they– if it’s too complicated for us, its too complicated for them. If it’s intriguing to us, it’s intriguing to them.

Examples? Christopher Nolan; Orson Welles; M. Night Shyamalan. Their work challenges the audience and keeps them intrigued.

Corporate examples? Videos that don”t preach, meetings that don’t pander, speeches that reduce the PowerPoint to clear, illustrative, intriguing pictorial elements.

Why simply say “We need better customer service” in a video, when kids in a Lemonade Stand can better or more arrestingly tell “the story?”

Why preach about miscalibrated machining equipment and the resultant costs when you can produce a film-noir-like mystery?

Why have the CEO of a corporation sit at his or her desk and lecture on building brand loyalty when interviews with real customers can make that case more convincingly and more humanly?

It’s the story, stupid.

Even the stupid audience knows that.

Norman Rockwell, Creative Director

The relationship of the well staged and photographed still image to creative direction in advertising and video / film is no more evident than in this article about Norman Rockwell from Photo District News.

Beyond the Easel, 1969 calendar
Image via Wikipedia

Before he ever committed paint to canvas, he set up intricate photoshoots. These were as professional as any video or film shoot, and included casting, set design, lighting, and the directing of talent and expression.

It raises my estimation of Rockwell, perhaps because it makes clear that he wasn’t working from swipe files, but was in fact creating his own masterful photographic tableau’s. Take a look at the comparison of Rockwell photo to Rockwell painting. Each has their own genius.

He picked the right people. He directed the right expressions. He positioned them in a still life pose that rivaled the best photographers and painters.

Then, on canvas, he filled in the details, adjusted, added, enhanced, reimagined and yes, photo-realistically replicated what he had previously created in black and white.

It was quite a process. Probably not unique. But a definite unraveling of a great artistic process.

We need to imagine our own work in video and print as well as Rockwell did his. Great motion is made up of great moments.

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No Soup for You? Soupy Sales TV Legacy

I was lucky enough to grow up in New Jersey when Soupy Sales, who died yesterday at 83,  was in his heyday. Us high-schoolers rushed home for his antics every day at 4, Saturday as I remember at 6:30 (Saturdays were when the big stars showed up to be pied.)

I loved when he tuned in the radio on the windows sill with the puppet Pookie. It was a pop culture explosion– bits of teen hits of the day, followed by old time radio like The Shadow, The Hindenburg, and audio skits recorded for the radio bit, etc.

The song, “Do the Mouse”  was hilarious, as was the dance, which it was supposed to be– defining “irony” as a form of humor where bad equals good… or something.

When he returned from his suspension (for asking the kiddies to go through their New Year’s Eve hung-over parents clothes for pictures of George Washington) he blasted “Happy Days are Here Again” and showed film of silent movie pie fights, car crashes, etc. for almost five minutes before walking on set.

I did attend his big Soupy Sales Easter show at the Paramount Theater which featured The Hollies, Little Richard (and his guitar player, Jimi Hendrix), and as they say, many others.

Almost every TV show he did– five days a week– was outlined, but not scripted. And for all the hub-bub, he was only on in New York for two years.

But I think his kind of show– outlined, live, adlibbed, supposedly for kiddies, but really for teens who wanted to be treated like adults– was the exit point for the afternoon kiddy show and the entry point for things like SNL and “Fridays”– on the air barely ten years later. Letterman and Conan followed.

Just more proof that creativity is a continuum. Thanks, Soupy.

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D-Day for Mercury Marine? Video as Corporate Culture

I was privileged to produce Mercury Marine’s 50th Anniversary video 20 years ago. It was a celebration of an entrepreneur’s vision,  a company’s impact on society, and, in much subtler ways, it’s impact on its surroundings– Fond du Lac, Wisconsin.

The local impact– on employment, community growth, local pride, freshwater recreation heritage– was never pointed out directly. It was there in the amazing visual documentation founder Carl Kiekhafer left behind of his surroundings through 16mm film and pictures. Mercury’s founding in Cedarburg. It’s purchase of the Coriam Farm in Fond du Lac to be the home of it’s amazing growth. It’s incredible impact on watersports, including Tommy Bartlett’s Water Show in the Dells. The national dealer celebrations Mercury hosted in Wisconsin.

I write this because today (Sunday, August 23, 2009) Mercury’s union rank and file will vote on whether to accept concessions in order to keep Mercury’s headquarters and plants in Wisconsin.

I don’t have a bone to pick or a dog in the fight. What I do know is this video demonstrates the incredible impact Mercury’s corporate culture has had on Wisconsin. To see it go the way of so many other corporations that have left, merged, been bought, or otherwise disappeared from the scene would be a distraught moment indeed.

We have short memories, and more and more companies seem to want to forget their past. The man who hired me for the Mercury gig, Ed Huck, often said “What’s past is prologue.” But what prologue is there if you ignore your past?

Here in slightly shortened form, is “50 Years of Leadership.”

The Wizard of Waukesha and Do-It-Yourself Genius

Les Paul has died.

Self-proclaimed at an early age as “The Wizard of Waukesha”, he deserved the monicker. Not for his legendary guitar-virtuosity, but for his advances in music technology.

My parents might blame Elvis, or Bill Haley, or Allen Freed for ruining radio with that darn rock-and-roll, but in fact it was mild-mannered, “Via Con Dios” playing and producing Les Paul who gave us the toys and tools to rock and roll.

Would there be “Stairway to Heaven” without the Les Paul guitar? Would there be “Sgt. Pepper” without the multi-track recorder? In fact, I doubt I would have had a career without the multi-track recorder. It’s the first purchase I made after Sorgel-Lee Multimedia sold a project. (I was making mix-tapes before you were born, sonny-Jim. Er, sorry. Got cranky there.)

Anyway, smash a Sears Silvertone tonight in honor of Les Paul. He needed tools, couldn’t find them, so he invented them.

Necessity.

The Death of Local Arts Reporting in Milwaukee?

According to the Milwaukee Business Journal, the people that will take the Milwaukee Journal-Sentinel’s latest buyout offer include broadcast media columnist Tim Cuprisin, theater critic Damien Jaques, books editor Geeta Sharma-Jensen, education reporter Alan Borsuk, pop music writer Dave Tianen, music/dance writer Tom Strini and business columnist Tannette Johnson-Elie.

Most are arts writers. All, including Johnson-Elie, who chronicled new business and minority business stories, and Borsuk, on Milwaukee’s volatile local education scene, can be considered important local-oriented reporters, whose detailed reporting on the arts, media, education, and small business gave an important and influential segment of the paper’s readership something to look forward to.

Jaques is a legendary name in Journalism circles. His father was a journalist, and Damien has been consistently and devotedly reporting on the arts for most of his career. Cuprisin brought new life to the TV-Radio section, following on the heels of early Sentinel efforts by Chris Stoehr and others, and always emphasizing the local ups and downs of Milwaukee’s broadcast media.

Sharma-Jensen, Tianen, Strini,  Borsuk, and Johnson-Elie owned their niches, and one wonders if they will even be replaced, or whether their activities will be merged into a one or two “combo” positions, echoing what happened to architecture reporting after Whitney Gould left.

I’m guessing the Journal-Sentinel will be happy to pay for freelance reviews. But behind-the-scenes analysis? Maybe not so much.

You can’t argue with the economics of the newspaper world. But you can argue with a medium giving up it’s unique selling proposition (USP). Local, local, local is what makes a newspaper or on-line publication different.

When big city papers started trying to be USA TODAY, their soul started to evaporate. You can read about Michael Jackson anywhere. What’s in the offing for the Milwaukee Rep, Symphony, Ballet, and so many more institutions, now that their  important voices are gone?

The Journal-Sentinel has yet to announce replacements.

Just Because You Don’t Get It, Doesn’t Mean You Shouldn’t Get It.

I admit it. Despite being an early adopter of the web (I’ve had the same url’s since the mid-90′s) I misread a couple of things.

I didn’t think information could come in spurts as short as a tweet. I forgot about something called telegrams.

I didn’t think about the web as a social place. Yet I’m as old as Walt Mossberg and used to hang out in the same “forums” on Compuserve and The Source.

And I didn’t see it as the ultimate distribution tool for video…. well, I did, but I didn’t expect it to kill off DVD’s and cd-roms. Now we urge our clients to create video just for the web– video that doesn’t even have to go “viral” to do the job. Just find your niche.

A lot of potential users of video on the web don’t get it, so they don’t use it.  They can’t understand the technology, or can’t envision a world beyond cable TV, DVD, or even giant sales meetings. And a good video might cost the same as a basic website, so they put the horse before the cart. These days, you need both– they are synergistic beyond belief.

So you’ve got to believe in the potential of what you don’t know– even if you can’t see what’s in front of your nose.

You can’t be aware of everything. But you can rely on the expertise and experience of good consultants to help point you in the right direction.

Brien Lee (that’s Brien with an “e”, in case you want to call or write. Really, we can see the future– we think.)