Reflecting on the redesign activities surrounding Season II of Artist’s Connection, all I can say is we didn’t leave one stone unturned. Here is a quick summary of the major changes:
Pieter Pastoor, my co-producer and general partner in crime, has turned
the show over to me so he can pursue other projects. Many thanks to
Pieter for his imagination, insight, and help in getting this program off the
Peter Bohm, associate producer and general audio wizard, is relocating to
Southern California. My thanks to Peter for all his help and advice. I’m going
to miss his calm, almost Zen-like approach to troubleshooting audio
problems in the midst of chaos.
Robert Kennedy has joined the team as our new Audio Engineer. Along with
engineering our recording sessions at DMA, Robert, a graduate of Pro Tools
training, also produces the radio version of Artist’s Connection. His “ears”
are amazing, and his editing is top-notch.
Each episode now features a single artist. This makes each show about 20
minutes long, which is more attuned to our YouTube and radio audience.
We start with a quote from the interview, and then proceed to the artist
intro, the artist performance, and finally to the full interview. For me, this
seems to flow a little better than Season One’s format, but the jury is still
out until the viewers weigh in.
We have gone to a three camera configuration, with all the cuts and dissolves accomplished in
post-production. This allows us to be a lot more accurate in keeping up with the flow of the interview.
It also makes removing “problems”—traffic noise, a cell phone left on, etc.—much easier because we’re
not having to work around the actions of the video switcher. It vastly increases the editing load, but I
think we get a better product.
We’re now using a green screen to put a pleasant background behind the
host and artist during the interview. This background is an actual video, and
you’ll notice the horizon getting darker and the Moon changing positions as
the interview progresses.
We’re still working audio issues with noise reduction, phase correction, and
limiting/compression. It’s quite a challenge to make the video version
sound as good as Robert’s radio production. I’m very impressed with that
All in all, it’s been a pretty dramatic summer. I look forward to our viewers’ response to the redesign
with cautious optimism.