Category Archives: Mac

BPPA Assignments 2019 Exhibition

Thrilled to have two of my photographs selected by the curators of the BPPA’s (British Press Photographers’ Association) tremendously powerful and not to be missed, Assignments 2019 exhibition. The show is beautifully curated and thanks has to be given to the talented team of curators, comprised of some of the brightest beacons in the photojournalism industry. Many thanks to Tom Stoddart, John Downing, Nikki Sutherland, Lawrence Lustig and Julie Edwards.

The private view and opening of the BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian

At the private view of the exhibition, it was an absolute joy to meet Fleet Street’s legendary press photographer John Downing for the first time. He had been a huge inspiration for me and my ethos of never being without a camera came from reading about his work. When a colleague pointed out my photograph (The Joys Of Life), it was an absolute honour to hear him kindly praise the image, saying it was one that he had chosen personally and to hear his kind compliments about the composition, timing and light, pushed me to blush!

Photographer Edmond Terakopian beside “The Joys Of Life”, which was one of two images selected for the exhibition and legendary press photographer John Downing (on right) who was also one of the curators of the show. BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo ©
The Joys Of Life. A child runs around during a heat wave bank holiday, whilst bathed in rays of sunlight in the turbine hall of the Tate Modern, Bankside, London, UK. May 06, 2018. Photo: Edmond Terakopian

This photograph was made on a Panasonic Lumix G9 and Leica DG 50-200mm lens. The raw image was processed in Adobe Lightroom and the monochrome treatment was finished in Nik Collection’s Silver Efex Pro on an Apple Mac Pro and fully calibrated Eizo CG monitors.

My photograph “The Joys Of Life” (centre), was one of two images selected for the exhibition by the curators. BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian

The second image kindly chosen by the curators was of a homeless man, seemingly passed out from wine, after another hard day on the streets.

The UK faces a homeless epidemic, with statistics showing that a homeless person dies every two weeks in London, one of the world’s wealthiest cities. Spiralling property prices are being cited as a huge factor, alongside access to mental health services becoming harder over the last several years. A homeless man lays on the street, apparently passed out from drinking the wine tied to the top of his belongings on his trolley. His guitar, probably used to busk with to pay for the wine, still strapped to his back. Another homeless man, wrapped in a sleeping bag, walks by. Tesco superstore, Pentonville Road, London, UK. March 21, 2018. Photo: Edmond Terakopian
Photographer Edmond Terakopian beside his image of a homeless man, was one of two images selected for the exhibition by the curators. BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Tracy Howl

The photograph was shot on a Sony RX1RII camera. The raw image was processed in Adobe Lightroom and the monochrome treatment was finished in Alienskin Exposure X3, on an Apple Mac Pro and fully calibrated Eizo CG monitors.

BPPA Assignments 2019 photography exhibition is on from 17th to 19th May, 2019, at Bargehouse, Oxo Tower Wharf, on all four floors. 

BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian
Contact Sheets at the BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian
BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian
A poster for the BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian

Assignments will also travel to The Potteries Museum and Art gallery in Stoke, from Sat 13th July to Sun 25th August.

An Assignments 2019 book will also soon be available, so keep an eye on the BPPA Shop to get a copy!

National Geographic Photo Contest

Always wonderful to get a nice message about one’s work, but when it comes from National Geographic magazine, it truly becomes special!

“Hi Edmond — Thanks for entering the 2019 National Geographic Travel Photo Contest! Your photo was selected as one of our editors’ favorite submissions”. 

It’s Their Future. Put It To The People March. Official figures put the numbers at the anti Brexit march at over one million. The demonstration, marched in central London calling for another EU referendum. The demo ends in Parliament Square. London, UK. March 23, 2019. Photo: Edmond Terakopian

To have a look at the work, please visit the People’s section in the Galleries, to see the images chosen by the editors for the photo contest.

The photograph was made on a Panasonic S1R and the S24-105mm lens. The raw image was converted to a DNG file using Adobe’s Raw Converter (as Lightroom hadn’t yet released support for the S Series, which is has done since). The Raw DNG file was then processed in Lightroom and finished in Alienskin’s Exposure X4, on an Apple Mac Pro using calibrated Eizo CG monitors.

Photojournalist Edmond terakopian on assignment with his Lumix S1, S1R and G9. Put It To The People March. Official figures put the numbers at the anti Brexit march at over one million. The demonstration, marched in central London calling for another EU referendum. The demo ends in Parliament Square. London, UK. March 23, 2019. Photo: Ian Burley

Winning Image In The 12th International Color Awards

Merit of Excellence

Light and shadows make patterns and shapes in the Tate Modern Turbine Hall, Bankside. London, UK. April 26, 2018. Photo: Edmond Terakopian

Very happy to share that one of my images has won second place, a “Merit Of Excellence”, in the Professional Category of the Silhouette section, in the 12th International Color Awards. The image was kindly chosen by judges from 7241 entries, from 79 countries.

Many congratulations on all the other winners and nominees and my thanks to the judges for their hard work.

It was shot on my Panasonic Lumix G9 with a Leica DG 50-200mm f2.8-4.0 lens (giving an equivalent of 100-400mm). The raw image was processed using Lightroom and finished in Alienskin Exposure X4 on my Mac Pro, using calibrated Eizo CG monitors for colour accuracy.

British Life Photography Awards 2018

Winning Image, “Life At Work”

Thrilled to start the new year with some wonderful news! I’m extremely happy to share that the photograph “Love Your Job” has won the Life At Work category of the British Life Photography Awards 2018.

A heavy downpour of rain soaks pedestrians as they pass an illuminated advertising sign saying “Love Your Job”. Hammersmith, London. Photo: ©Edmond Terakopian
  • Leica M9
  • Leica 35mm Summicron ASPH

The good news continues as the judges have very kindly commended three of my other photographs.

A child runs around whilst bathed in rays of sunlight in the turbine hall. Tate Modern, during a heat wave bank holiday. Bankside, London, UK. Photo: ©Edmond Terakopian
  • Panasonic Lumix G9
  • Leica DG 50-200mm f2.8-4.0
A portrait of model Jordan Ebbitt. London. Photo: ©Edmond Terakopian
  • Olympus OM-D E-M1
  • M.Zuiko 12-40mm f2.8PRO
Behind the scenes as Sotheby’s prepares the Gunter Sachs Collection for sale (2012). Sotheby’s will be offering close to 300 works of art from the prestigious single owner collection. Allen Jones’ mannequin furniture (1969) from Gunter Sach’s bedroom in St Moritz. Each individual piece is estimated at £30-40,000. Hatstand and Table are unwrapped by the technicians. Sotheby’s, New Bond Street, London. Photo: ©Edmond Terakopian
  • Leica M9
  • Leica 35mm Summilux (FLE)

Exhibition

Many congratulations to all the winners; there are some truly beautiful photographs selected by the judges. The winning and commended images will be exhibited in a travelling exhibition, which I hope many of you will be able to see. A book of the selected images from 2018 will also be published (but is not yet listed, so keep an eye out on the website).

  • Mall Galleries, London 18th to 23rd February 2019 
  • Banbury Museum, Banbury 16th March to 12th May 2019 
  • The Garden Rooms at Tennants, Leyburn, North Yorkshire 20th July to 3rd September 2019 
  • Redbrick building, Glastonbury, Somerset, 14th September to 13th October 2019

The post processing of the images were done on my Apple Mac Pro using Eizo CG monitors, using Adobe Lightroom (and finished in either Alienskin Exposure or Nik Collection Silver Efex Pro plugins).

Other World Computing

The Fastest; Accelsior PCI Express SSD

Long Term Test

OWC stands for Other World Computing, a title which I felt was very apt for this article. Since I started using OWC’s adapter for modifying my Mac Pro to take multiple SSDs in the optical bay and installing their blisteringly fast SSD into the optical bay of my MacBook Pro, I’ve become a fan of this company. Their adapters and SSDs just seem out of this world; great design, well made and extremely fast.

It was with great interest when I first heard that a PCI Express SSD card was going to be introduced by the company. The advantages of using a PCI Express SSD card are numerous. Firstly, one is directly plugging into the motherboard, using the fastest interface, without having to go through the SATA connectors, adding some speed to operation. Secondly, it frees up your SATA connectors and drive bays for more SSDs or conventional hard drives for storage. In my Mac Pro, I now have four conventional hard drives in the drive bays which I use to store my RAW files amongst other data including documents, music, video and so on. I also have two SSDs installed in the optical bays. One is used to clone the Accelsior every night which is my OS drive, and the other is used for video files when editing  a project. Having FCP X run on the OWC Accelsior and the ProRes 422 video files run from a OCZ 120Gb SSD makes for a very fast and fluid editing experience.

If you’re on a PC, the Accelsior will also work. Regardless of which system you’re using, the helpful thing is the card does not need a driver, so will just work once installed. On a Mac, you will naturally need a Mac Pro as the iMac does not have PCI Express slots.

I decided to go for the 240Gb version which is enough space to store the OS, applications and Documents. Via iTunes I did move the iTunes folder to another drive though as it was simply too big. The card uses Sandforce controllers and several systems to ensure that the SSD chips are used efficiently and kept running smoothly. The SSDs themselves are on smaller circuit boards which clip into the PCI Express daughter card; this means that in time if you want to upgrade to a larger size, it’s easily done.

Speed

Using OWC’s own figures, comparing their top of the range traditional SSD (Pro 6G) to the Accelsior makes interesting reading.

OWC Mercury Extreme Pro 6G – Read 559MB/s Write 527MB/s (Peak Data Rate)
OWC Mercury Accelsior  – Read 762MB/s Write 763MB/s
Traditional 5400rpm Hard Drive – Read 75MB/s Write 77MB/s

These are test figures so real life use will vary, but it will vary proportionally, so the speed advantages are clear to see.

Compared to my previous OS SSD, the OCZ Vertex 3 Max IOPS which was very quick, the speed advantage of the OWC Acceslior is immediately noticeable, even without timing.

I did perform some comparisons though using my early 2009 model Mac Pro.

Reliability

Speed isn’t the only consideration to have though. I’ve had the Accelsior installed in my main imaging workstation, a Mac Pro, for three months now. It has performed without a single hiccup. I installed it when running OS Lion, cloned the OS drive onto the Accelsior using the superb CCC and upgraded to OS Mountain Lion a few days after it’s release. My Mac Pro is on 24/7, used for photo editing, photo archive use, Giclée printing, video and audio editing and general computing too. It’s hooked up to a Sonnet D800 raid with a PCI Express RAID card as well as countless other peripherals and I didn’t have a single issue at all! The Accelsior just performed with 100% absolute reliability and speed.

Final Thoughts

As new technologies come and go and we take leaps forwards, some leaps are giant. The leap to SSDs being one. They are still too costly for storage, but for using as our OS and program disks, the capacities are more than there and the prices have dropped to affordable levels. Although purely on paper the jump to PCI SSD doesn’t appear huge, it is much more than just the speed increase; it’s the convenience increase of freeing up a drive bay for storage too. I for one can’t recommend SSDs highly enough; however if you have a machine with compatible PCI Express slots, then the OWC Accelsior is an absolute no brainer. You’ll love it!

European Buyers – Macupgrade has kindly offered readers of this blog a 10% discount with the code: macupgradephoto

Reportage On The RNOH

The Power Of Photographs

Following the RNOH film, I decided I wanted to do a different edit to our TAPTV film. My thoughts were to combine some photographs within the edit. At first I looked through the beautifully edited by Neil Patience film and realised that there were some nice still images within the footage. With Quicktime 7, I went back to the original Canon 5D MkII footage and exported some still images, particularly from the interview sections.

These images were imported into Aperture 3 where I processed them. For the B/W conversions I exported them into Nik Software’s Silver Efex Pro 2. Here I created four custom looks and these were applied to the images as appropriate. Using FCP X I then did an re-edit of the film, incorporating the images captures. I also used Red Giant’s Magic Bullet Looks 2 to grade the film slightly differently to our original.

Earlier this year, we decided that to coincide with the launch, it would be a great idea to shoot a proper photo reportage on the RNOH, so over a three and a half day period, using a Leica M9 and M9-P, I wandered the operating theatres, halls and wards (with the invaluable help from the fundraising and communications teams), making a set of pictures. I mainly shot the entire project using the Leica  50mm Noctilux APSH, the new 35mm Summilux ASPH and the 28mm Summicron.

These were first edited in Aperture for my agency Eyevine and once done, I set about incorporating them into my video edit. As before, Nik Software’s Silver Efex Pro 2 was used for the B/W conversions and I set about importing them into FCP X and making the new edit of the video.

There is something much more powerful with B/W imagery and for me, this version is even more powerful. It’s a full multimedia marriage of video, audio and photography. I’d love to know which version of the film you find stronger and why.

My biggest ask though is that if you were touched by this amazing place, please help in their redevelopment and donate to the RNOH fund. Thank you.

Lastly, here is a slideshow of my favourite photographs from the project:

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Behind The Scenes

The RNOH Appeal Film

I was very honoured when Neil Patience (an extremely talented video editor) invited me to take part in a project he was going to be involved in. He mentioned it was the RNOH, a hospital which I had already done several assignments in (photographing Princess Diana and on a separate occasion my first ever award winning picture; a wheel chair basketball game, to mention a couple).

In April 2011 we had a meeting with Rosie Stolarski (Head of Fundraising, RNOH Charity) and Professor Tim Briggs (Consultant Orthopaedic Surgeon), the subject of which was to make a fundraising appeal film. The original brief was for a very short, straightforward appeal type film, but after the first few days of shooting, Neil and I had decided to go for more of a documentary feel. Neil put together a rough cut of what we had already and we were overjoyed when the RNOH went for it and changed the brief.

Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in an operating theatre with two Canon 5D MkII camera, one on a Gitzo (GT3531LSV + G1380 head) and the other on a Zacuto Striker with the Zacuto Z-Finder Pro attached). Both cameras have Rode microphones attached for ambient sound recording. The VideoMic (closer) and VideoMic Pro. A Think Tank Photo Multimedia Wired Up 10 belt pack is also being used. May 16, 2011. Photo: Neil Patience

We spent a long time planning various aspects of the film, including the patient interviews. With the hospital team, we chose a cross section of their previous patients who had had the full gamut of operations, thus transforming their lives. We covered a wide age range and conditions to paint a full picture.

Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in an operating theatre with a Canon 5D MkII camera on a Zacuto Striker with the Zacuto Z-Finder Pro attached and the Rode VideoMic Pro. A Think Tank Photo Multimedia Wired Up 10 belt pack is also being used. May 16, 2011. Photo: Neil Patience

The flip side to these life changing stories though was the conditions in which this amazing staff have to work. Huts that serve as wards dating back to the 1940s, crumbling, leaking building, sloping corridors that require special locomotives to pull beds along. A truly extreme juxtaposition of amazing medical work in such atrocious conditions.

Photographer and film maker Edmond Terakopian filming at the Royal National Orthopaedic Hospital in Stanmore. Filming in a prosthetic limb manufacturing section run by Blachleys. A Canon 5D MkII camera, on the Gitzo (GT3531LSV + G1380 head) tripod, with a Rode VideoMic Pro microphone. Extra equipment needed for the shoot is carried in a Think Tank Photo Multimedia Wired Up 10. May 16, 2011. Photo: Neil Patience

Having an amazing client though is the start of great work and I really must thank the RNOH in helping us be creative, change the brief to make it a more powerful film and for all the logistical help. All the coordination by Rosie Stolarski for the entire project and the patience of her team members Jenny Blyth and Sam Bowie when they accompanied us on site was paramount. A huge word of thanks goes to head of communications Anna Fox who spent the most time with us on site, making sure everything was planned and helping us get the shots we needed. We’d like to thank all the amazing surgeons who invited us into their operating theatres and all the physiotherapists, nurses, prosthetics team and other medical staff for their help. A big thanks also go to the ushers and the security team for all their help.

The biggest words of thanks go to the former patients who let us into their lives and inspired us with their strength and courage. Our thanks go to HRH Princess Eugenie of York, Molly Poole, Carol West, Phil Packer, Phil Coburn, Kat Reid and the amazing Caitlin Kydd.

Camera assistant Nicola Taylor recording audio, using a Rode NTG3 on a Rode Mini Boom pole, onto a Zoom H4n audio recorder. This is in a Think Tank Photo Multimedia Wired Up 10. Edmond Terakopian uses a Canon 5D MkII and 135mm f2L and Rode VdeoMic Pro on a Gitzo (GT3531LSV + G1380 head) tripod. RNOH Children’s Ward, Stanmore. July 19, 2011. Photo: Neil Patience

Along with the invaluable help of my assistant Nicola Taylor (an amazingly creative photographer in her own right), Neil and I shot the project over a nine month period.

If you haven’t yet seen the film, you can watch it HERE.

Techniques & Technical

Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian & Editor and Producer Neil Patience. An iPad is used for interview questions. RNOH, Stanmore. Photo: Nicola Taylor

I shot the entire video using two Canon 5D MkII cameras, using a range of Canon lenses; 15mm f2.8, 16-35mm f2.8L II, 24-105mm f4L, 35mm f1.4L, 50mm f1.2L and a 135mm f2L. My main tripod was a fluid head Gitzo (GT3531LSV + G1380 head). For the locked off shots with the tighter lens (135mm f2L) I used a carbon fibre photographic Manfrotto tripod. For the handheld shots, I used a Zacuto Striker and Z-Finder Pro eyepiece. Having to cover long distances across the hospital grounds and wards with the kit meant needing to plan not only the right and relevant kit, but the right bags too. We used a Think Tank Photo Airport Internal v2 and also a Multimedia Wired Up 10. On the last interview with Consultant Orthopaedic Surgeon Professor Briggs, I also used a Marshall 5” monitor (V-LCD50-HDMI).

Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian, editor and producer Neil Patience, Rosie Stolarski (head of fundraising) and ex-patient Phil Packer. RNOH, Stanmore. Photo: Nicola Taylor

Behind the scenes photographs of the filming of the appeal DVD. Showing film maker Edmond Terakopian and ex-patient Phil Coburn. RNOH, Stanmore. Photo: Nicola Taylor

Operating Theatre 4 with Prof Tim Briggs. A Marshall 5″ monitor (V-LCD50-HDMI) is used to check focus, lighting, composition and exposure). The light on the left is a Kino Flo Diva Light supplied by New Day Pictures. September 21, 2011. Photo: Edmond Terakopian

To keep the same feel and uniformity with the ex-patient interview scenes, we decided to shoot them against a black background. One of the problems though was that although some interviews would be done at the hospital, these were at different days and in different rooms. The other interviews would be on location at ex-patients’ homes. We needed a proper light absorbing black, but also a background which was sturdy and stable. On top of these requirements, it also needed to be highly collapsible and portable. After having a chat with our friends at Lastolite, we found just the trick. The Lastolite Plain Black Velvet Collapsible Background (which has a collapsible frame) and the Lastolite background support (1109).

Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Prince Andrew being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera further away (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor

The other aspect to keeping this consistency was to make sure the lighting was as identical as possible. After consulting with the specialist hire company New Day Pictures, we went for a Kino Flo Diva Light (shot through it’s softbox diffuser). This has been the most amazing light I’ve ever worked with.

Audio

For audio, I used Rode microphones throughout. The cameras where fitted with the Rode VideoMic and VideoMic Pro for all of the cutaway and GV scenes. Although we had originally thought that all their audio would be replaced with the interviews with Professor Briggs, Neil ended up using a fair amount of the audio from them. The main audio, which was for all the interviews, was done using a Rode NTG3, recoding onto both camera A (using a Pinknoise splitter cable) and onto the Zoom H4n (in WAV format). We mounted the mic on a mic stand and had it just outside shot.

The Royal Connection

Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Prince Andrew being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera further away (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor

The first of our interviews was with HRH Prince Andrew, who not only only was the patron of the hospital, but is also the father of a former patient; Princess Eugenie. We also did an interview with the Princess and both pieces added so much to the film. These weren’t only essential, but were also an absolute joy to shoot.

Royal visit to the Royal National Orthopaedic Hospital (RNOH), Stanmore, Middx. HRH Princess Eugenie being filmed by Edmond Terakopian. For this shot two Canon 5D MkII cameras were used. One on a Gitzo (GT3531LSV + G1380 head) tripod. The other is on a lightweight Manfrotto carbon fibre tripod. The camera to the left (Camera A) is mounted inside a K-Tek Norbert cage (mount frame) and has a Zoom H4n audio recorder mounted on it. This in turn is plugged into a Pinknoise splitter cable, with one end going to camera (to record audio in camera) and the other to headphones. A Rode NTG3 microphone is used for the main audio which is recoded onto the Zoom H4n in WAV format with the passthrough recording in camera. The B camera also has a Rode VideoMic Pro recording audio onto it. The black background and supports are Lastolite and were used in all the interviews. The lighting is by a single Kino Flo Diva Light (supplied by New Day Pictures) and a Lastolite reflector. June 02, 2011. Photo: Nicola Taylor

Editing Workflow

Editing the fund raising video for RNOH at New Day Pictures’ Final Cut Pro editing suite in Surrey. Assistant Nicola Taylor and video editor Neil Patience at work, discussing the interview transcripts. November 08, 2011. Photo: Edmond Terakopian

After every day’s shoot, we would make copies of all the CF cards (video) and SD card (audio) onto both Neil and my MacBook Pros. Once back at our respective offices, we would both also make backups onto our Mac Pros and RAID systems. On top of this, I also made multiple off-site backups. With a project that has so much data and is shot over such a long period of time, it’s not worth risking losing something before delivering the final cut to the client. With this workflow we had multiple copies (RAID 1 and RAID 5) across three geographical locations.

Editing the fund raising video for RNOH at New Day Pictures’ editing Final Cut Pro suite in Surrey. L-R: Cameraman Edmond Terakopian, assistant Nicola Taylor and video editor Neil Patience at work. November 08, 2011. Photo: Edmond Terakopian

Once Neil had put together a long assembly, Nicola and I met with Neil at the New Day Pictures’ editing suite. Although able to edit video myself, I never thought of myself as anything but having rudimentary skills. Watching Neil at work was an amazing education. The philosophy behind editing is the most crucial thing; watching him operate the keyboard, mouse and various break out boxes full on knobs and sliders like a concert pianist was amazing, but understanding the reason behind constructing edits was just mind blowing. The three days that I spent with Neil were invaluable. The film naturally did take much longer than that to do though. If you’ve never worked with a professional editor, I highly recommend it; in fact, it’s essential.

To find out more about the editing, have a read of Neil’s post, Making The RNOH Appeal Film.

The Premiere

Our first screening was for the RNOH fundraising team. The silence and sniffles, combined with the teary eyes confirmed for us that we had succeeded in making a powerful and emotive documentary. It’s always difficult to fully judge a project until you’ve shown it to someone outside of the team. Close colleagues who had seen it had all been positive, but it was only when our clients at RNOH approved, that we were completely happy.

The premiere of the film was at the launch of the RNOH Funding Appeal at St James’s Palace, at an event hosted by HRH Prince Andrew and Princess Eugenie. Along with the screening was also a photographic exhibition of my work documenting the hospital. I must admit to being quite nervous when the film was shown; it’s again the fear of not knowing how it will be received. The huge room (bigger than a typical hall) fell quite and stayed quite for the entire length of the film, the silence only being broken by the occasional sniffle. As the film approached it’s end, the sniffles grew not only more frequent, but louder. A gentleman in front of me, who is the father of the amazing Caitlin who is featured in the film was in fact crying fully. It’s hard not to be moved and humbled when witnessing such an amazing reaction to one’s work. After the film finished, there was silence; a silence which carried on for a good five seconds and then the room burst into applause. Later, Neil and I shook hands.

Proud. This is one word which kept coming up between the TAPTV team; we were all proud of what we achieved with this project. When I look back at my career which started in 1989, although I give my all to everything I do, certain assignments stand out and I feel proud; this is certainly one of them.

My hope is that we have helped this amazing hospital to raise some of the money they need; they do amazing work there. I hope that you will help by making a donation HERE.