Supporting kids charity on the trip of a lifetime


Phil Huberty TV-Bay Magazine
Read ezine online
by Phil Huberty
Issue 84 - December 2013
As a warehouse technician at Procam with aspirations to become a camera operator, I was delighted to be given the chance to film a group of seriously ill and disabled children on the holiday of a lifetime hosted by the charity Dreamflight.

Dreamflight is a national charity that takes 192 seriously ill and disabled children, without their parents on the holiday of a lifetime to Orlando, Florida. They are accompanied by a huge support team of around 90 volunteers on a chartered Boeing 747 that takes them to Florida to experience 10 magical days. Many children could not undertake such a trip without the support of the army of doctors, nurses, physiotherapists and non-medical volunteers who care for the children 24 hours a day.

Typically my day involves receiving and storing stock, preparing orders for delivery and maintaining the warehouse. So I was excited to spend some time in Florida capturing footage in a variety of environments which I would then edit down into a bespoke video memory. I was one of 12 camera operators who accompanied the children on the trip, and on our journey to Florida I received a lot of advice from some of the more experienced crew. However, nothing could have prepared me for the experience I had over the next 10 days.

I was faced with challenges from the very start of the trip: from the flight over to Florida, to filming on rollercoasters and log flumes, to capturing personal and private moments on film: each challenge posed new questions and tested my ability.
I wanted to make sure I captured the childrens excitement from the moment they began their holiday, my first challenge was deciding which camera to use to film in the enclosed space on a plane. The XF105 was chosen by the Dreamflight video team as the best camera for this situation as it delivers great images for such a compact camera. It was also versatile enough for me to continue to use this camera throughout most of the trip.

Whilst in Florida we visited lots of different theme parks from Universal Studios to Disneyland, each with bigger and better rides. I knew it would be great to capture some shots of the kids having the time of their lives on rides like Summit Plummet a two second plunge down the fastest free fall slide in the world! Since a shot like this needed a camera that could handle filming in high velocity and often water soaked conditions, we chose to use the Go Pro 3: its small and compact, shoots in HD and is favoured by the extreme sports industry worldwide. At some of the theme parks I was accompanied by a park escort who told me when and where I could film, for others I had free reign to seize every moment on film. When youre being thrown in the air on some of the worlds biggest rollercoasters, its impossible to plan each and every shot so it was important to have a versatile camera for the job. The Go Pro was brilliant for shooting on the hoof as there is practically no set-up needed, you can just grab and shoot.

A challenge at the other end of the spectrum was figuring out the best way to capture personal and often sensitive moments on film. The children were each facing their own difficult battles and I wanted to make sure that I could create an amazing bespoke film that each of them could take away to share their memories with their families. My approach was to speak to all of the kids individually and get to know them and their story. It enabled them to be comfortable having me around and allowed them to just have fun without being distracted by my filming. By filming interviews with each of them at the end of their holiday, the children were able to reflect on the time theyd had and how much theyd enjoyed themselves, which was an extremely rewarding experience to be a part of.
Even the process of editing is a learning experience, vital to anyone looking to improve their filming skills. Overall I created 20 hours of footage which I now have to edit down into a one hour bespoke video memory. There is a real skill to deciding which shots to use and how to create the most effective and lasting memory. Looking through all of the footage Ive created has helped me to see how I could shoot it differently and reflect on how I can improve my filming in the future.

Its an experience I would repeat again in a heartbeat. For other budding camera operators I would definitely recommend giving up your time to get out and shooting as much as possible: you can learn so much from simply filming as much as you can whenever you can. Im proud to, along with Procam, have supported the great work undertaken by Dreamflight this year. The video Im creating will provide priceless memories of the trip for many of the 192 seriously ill and disabled children that went on this years trip. We were happy at Procam to donate some of the cameras which facilitated the 12 strong video team: two XF105s and two Go Pro 3s along with sponsoring the video team's Dreamflight t-shirts for the entire trip. Without the other camera operators giving up their time and energy to the trip andindustry sponsors such as Procam, the charity wouldnt be able to create these priceless memories of the life changing holiday. At Procam we hope to continue to support Dreamflight with kit and crew for many years to come and I would personally advise anybody else to seriously consider offering their time to this wonderful charity, and be part of the team that changes children's lives.

The volunteer video team is made up of professional cameramen, editors, directors, anyone willing to give their time and have fun! If youve been inspired and want to be part of the Dreamflight video team in the future or are interested in becoming a sponsor, email Freelance cameraman and Dreamflight Video Team Co-ordinator, Jon Boast at video_team@dreamflight.org


Tags: iss084 | dreamflight | procam | filming | childrens charity | disney | disneyland | flight | trip | Phil Huberty
Contributing Author Phil Huberty

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Winner of the LP54 Miller Classic

    Winner of the LP54 Miller Classic

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Filming kit review from NAB

    Filming kit review from NAB

  • Polecam Antelope Pico at IBC 2014

    Polecam Antelope Pico at IBC 2014

  • DJI Innovations at BVE 2013

    DJI Innovations at BVE 2013

  • AntonBauer at BVE 2015

    AntonBauer at BVE 2015

  • Compass X Heads from Miller Tripods at NAB 2018

    Compass X Heads from Miller Tripods at NAB 2018

  • Miller Compass X Series of Tripod Heads shown at IBC 2017

    Miller Compass X Series of Tripod Heads shown at IBC 2017

  • Miller Cineline tripods at IBC 2015

    Miller Cineline tripods at IBC 2015

  • Miller Compass tripods at IBC 2015

    Miller Compass tripods at IBC 2015

  • SISLIVE Manpak tripod antennas at NAB 2015

    SISLIVE Manpak tripod antennas at NAB 2015

  • MILLER Cineline 70 Tripod System at NAB 2015

    MILLER Cineline 70 Tripod System at NAB 2015

  • Sachtler Tripods at BVE 2015

    Sachtler Tripods at BVE 2015

  • Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

    Air Alloy Tripod System from Miller Fluid Heads at IBC 2014

  • Skyline 90 from Miller at NAB 2017

    Skyline 90 from Miller at NAB 2017

  • Combo Live 55 Pedestal from Miller at NAB 2017

    Combo Live 55 Pedestal from Miller at NAB 2017

  • Virtual and Augmented Reality support with the Arrow Fx7 from Miller at NAB 2017

    Virtual and Augmented Reality support with the Arrow Fx7 from Miller at NAB 2017

  • Miller Camera Support at IBC 2016

    Miller Camera Support at IBC 2016

  • Miller Arrow X Series at NAB 2016

    Miller Arrow X Series at NAB 2016

  • KITPLUS rig setup at IBC 2014

    KITPLUS rig setup at IBC 2014

  • Cineline Fluid Head from Miller Camera Support at NAB 2014

    Cineline Fluid Head from Miller Camera Support at NAB 2014

  • Libec ALLEX slider system at NAB 2014

    Libec ALLEX slider system at NAB 2014

  • Ianiro on BroadcastShow Tour May 2013

    Ianiro on BroadcastShow Tour May 2013

  • Ianiro at BVE 2013

    Ianiro at BVE 2013

  • Vinten at NAB 2012

    Vinten at NAB 2012

  • Polecam at NAB 2012

    Polecam at NAB 2012

  • Sachtler at BVE 2012

    Sachtler at BVE 2012

  • Ianiro at BVE North 2011

    Ianiro at BVE North 2011

  • Sachtler at IBC2011

    Sachtler at IBC2011

  • Tiffen at IBC2011

    Tiffen at IBC2011


Articles
What is the JT-NM Tested Program
Bruce Devlin - new The National Association of Broadcasters (NAB) Show 2019 has come and gone with the usual onslaught of product announcements, launch parties, demonstrations and the usual high-density crowds preventing any high-speed movement between halls. The IP showcase, this year, featured a JT-NM tested program. If you're unfamiliar with the JT-NM, then it's worth checking out their website jt-nm.org where you can find out about the work being done to coordinate the different aspects of building an inter-working ST 2110 eco-system. The JT-NM tested program catalogue can be downloaded from the website and it highlights a series of tests that were performed prior to NAB on various products to see how they performed against the written standards upon which the ST 2110 eco system is based.
Tags: iss137 | st2110 | class | jt-nm | nab | ieee | secuirty | amwa | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read or download PDF
IMF Adoption
Howard Twine The Interoperable Master Format isn’t new. It’s been around for more than six years. Despite this longevity, the broad adoption since the publication of SMPTE 2067 has been pretty slow. This is perhaps more because of the age old mantra “if it ain’t broke don’t fix it,” than the ease with which many could interpret the standard. However, it is safe to say that movie producers blazed a trail in using IMF for original content delivery. Perhaps the key is that those early adopters didn’t have any significant tape based infrastructure that had been modified for file-based working when receiving content. So, many longer established content distributors have the immense resources to create the vast array of versions required to address the ‘version issue.’ This being how do you get the same content to look good on the back of an aeroplane seat headrest or an iPhone in the back of car as well as a good old TV set. Over time these resources have been diminishing and many organisations recognise that they have to adopt workflow automation to survive.
Tags: iss137 | editshare | imf | standards | smpte 2067 | Howard Twine
Contributing Author Howard Twine Click to read or download PDF
A Truly Mobile Fly On The Wall
KitPlus Fly on the Wall Entertainment is responsible for over 2000 hours of programing that have aired on multiple networks. As the Executive Producers of CBS’s summer sensation Big Brother, going into its 20th season this summer, they have been the key to the growth and evolution of one of the most groundbreaking entertainment franchises ever on broadcast television. As a team, they constantly push the boundaries of unscripted television, creating programing unimagined by anyone else.
Tags: iss137 | dejero | fotw | engo | KitPlus
Contributing Author KitPlus Click to read or download PDF
NAB 2019 Highlights
Paul MacKenzie The NAB Show in Las Vegas never loses its capacity to surprise. With NHK already transmitting in 8K and the Tokyo Olympics just a year away, this might have been the year that 8K equipment prices descended from the stratosphere to just plain expensive. The main trends at NAB 2019 were an increasing focus on HD-HDR, Media-over-IP and 4K. 8K was pretty low key except for a very promising demo on the Sharp stand: an extremely compact 8K camera at an impressively low price point: $4,000. Shooting at 30 frames per second to an internal card and using a prosumer-style Olympus lens, it looked very much an entry-level product but one with phenomenal potential for any videographer looking to work with very large display screen sizes.
Tags: iss137 | finepoint | nhk | media-over-ip | canon xa50 | xa55 | huddlecam | jvc | gy-hc550 | panasonic aw-ue-150 ptz | samsung | 8k signage | hdr10+ | livetrakl-20 | mediakind | Paul MacKenzie
Contributing Author Paul MacKenzie Click to read or download PDF
Lighting with Gurdip Mahal
Ian Muir Gurdip Mahal’s credits for lighting design are impressive. Including major Awards shows such as BBC Sports Personality of the Year, Children in Need, as well as The Voice, Top Gear and Crystal Maze, his CV would almost certainly include at least one show with which any one of us is familiar. In addition, he has applied his own particular style to performances by major artists such as U2, Beyonce and Lady Gaga.
Tags: iss137 | ac entertainment | gurdip mahal | lighting | stage lights | light assistant | Ian Muir
Contributing Author Ian Muir Click to read or download PDF