Artist EPKs

RISA BINDER EPK

The first EPK I made in Nashville for Risa Binder.

Risa Binder-Vocals, Dan Hagen- guitar/producer, Missi Hale-Harmonies, Jim Hoke-Sax/horn arrangements, Steve Herrman-Trumpet, Dave Dunseath, Doug Belote-Drums, Paul Chapman, Tim Marks, Alana Rocklin/Bass, Sub-ID-Programmer, Jody Nardone/Piano, Mike Daly-Pedal Steel, Mark Niemiec-Tracking and Mixing engineer
Bob Ohlsson- Mastering engineer

RENEE WAHL EPK

We spent a lot of time working on this EPK. Renee was resilient with my demands/indecisiveness. I have the feeling she thought I was nuts with some of the requests and locations I shot. We actually made a music video too and some of this footage was from that (That will be one of my next posts). Everything was shot in urban blight sections of downtown Nashville and it’s interesting to note that the week after we filmed some of this footage two of the locations were demolished. We probably shot four different days worth of footage. The performance section was shot at Diamond Sound Studios.

A little about the music and record. Dan Hagen produced these songs and it was recorded at Omni Studios in Nashville. They captured a cool vibe that has indie soundtrack written all over it. Mark Niemiec engineered.

THE ANTENNAS EPK

Rachel Kice assisted in this shoot at Exit/In in Nashville. We did the interview backstage and the entire performance is so tight and on time it is synched to their recording. There are a few spots you can pick this up, but I was literally blown away by how on the screws the Antennas are.

Lane, Landon and Mark. They were initially in a band called IDE, but decided to take a different direction and go with a power trio. That is where the Antennas came from. They have been playing together for years and it shows. Truly exceptional beings on every level.

JOSH TURNER – Behind the Scenes

This was an edit I did for Universal Nashville. There was about 25 minutes of raw footage which is condensed into 4:30. In my opinion, this is the most important skill an editor can have. What makes it and what ends up on the floor. They are really difficult decisions and just like writing you have to walk away from your projects to really “see” what you’re making.

Sometimes I will hold onto scenes for dear life when there is a part of me that knows it’s wrong. Usually this is because it will reshape a big part of the edit. Cutting to 4 minutes from 25 minutes is pretty easy. Many of my projects have hours of raw footage that end up in 3-4 minute clips and I’m really not sure if I understand why. I suppose it is general experience and the fact that I have a fairly high standard for what entertains or feels good to me.

Yesterday I was looking through old promos that I’ve saved from my history in news. I am always surprised at how much better I think stuff is when I’ve been removed from it. The closeness to a project can really jade your feelings and opinions. I really liked some of the promos that I hated when I worked on them. And there were hundreds. My job is to cut raw footage from a seemingly endless supply of footage into 15 second spots. Talk about an edit room floor. It is amazing how I end up at 15 seconds and it is even difficult for me to write that long sometimes. I feel like one sentence can really sum it up. It’s been good from a clutter perspective, but horrible for my creative writing, which is why this may seem like a ramble. I have to get back to the ramble so I have something to cut.