About Neal Moore

Entrepreneur, writer, musician, photographer, filmmaker, co-founder & CEO of http://www.click2view.asia .

Just Do It – Part #2:  Filmmaking the Southeast Asian Way

Having heard Hollywood’s side of the story (Just Do It – Part #1: Filmmaking the Hollywood Way) I sought out Southeast Asia’s advice at the Creative Content Production Conference in Singapore and uncovered a thriving industry full of optimism and opportunity.

Running alongside technology show Broadcast Asia this event addressed many of the same topics as the Produced By Conference I recently attended in Hollywood but with a refreshingly Southeast Asian point of view.  I say refreshingly because, firstly, the speaker line-up largely consisted of locals as opposed to ang mohs (white folk) and secondly because Southeast Asia is a very distinct part of the overall Asia-Pacific region, which is usually addressed as a homogenous whole.  This is problematic because “APAC” encompasses such vastly different cultures and economies that it’s almost impossible to apply any common principles to them all, (Tokyo and Jakarta, for example, are further apart than London and New York!), but Southeast Asia, as a collection of eleven co-operative countries is marginally more manageable.  And what a creative hub SEA is; just recently we’ve seen the success of Singapore’s Ilo Ilo, Malaysia’s The Journey and Indonesia’s The Act of Killing, The Raid AND The Raid 2 so why have you/me/us not heard more about it?

Well, despite having a population twice as large as the USA, South East Asia’s 600million people are spread over four time zones, speak 13 official languages and literally hundreds of dialects, which makes it difficult to create a splash with a mass audience.  Then there’s the fact that the average Southeast Asian makes under US$11,000 per year (without Singapore and Brunei, the two richest but least populous nations, that average drops to just over S$3,200), so local box office numbers pail in comparison to the price of an American or European cinema ticket.  Finally there’s the issue of censorship, which means getting a film into theatres, never mind on state-controlled television, is no easy task.  But it is for all these reasons that Southeast Asian producers, unlike their American counterparts, are embracing the new era of film distribution a.k.a. Video on Demand.

In 2011 the UN declared that Internet access is a basic human right and so, one way or another, every country in SEA will eventually come online.  For many it will be via the mobile phone and the snobbishness exhibited by US producers and directors about the mobile-as-movie-screen is non-existent here as it provides the first truly democratized means to a mass audience and that’s got everyone excited.  Among the most excited are CHAN Kin Gai, TEO Yi-Ling and Justin Diemen who last year founded the Southeast Asian Audio Visual Association (SAAVA), a non-profit association that seeks to unify media producers across the region.  Kin Gai and Justin spoke on a panel about the first Singaporean-Cambodian co-production, brokered by SAAVA, called 3.50.  3.50 is a scripted drama about Cambodia’s sex trade that received the government’s approval to be made but has yet to be screened in the country of its setting.  You can watch the trailer and decide for yourself why…

3.50 was just one of many new productions I learnt about at the conference.  Erika North, Head of Programming & Executive Producer for HBO Asia introduced her latest offering, a co-production with InFocus Asia supported by Singapore’s Media Development Authority, entitled Grace.  The four-part horror series also stars Click2View regular Vivienne Tseng, which was a thrill to see!

Horror was a consistent theme throughout the event because it’s cheap and it travels which, according to Erika, are important assets in a market that still doesn’t command the same production budgets as the West.  It was also noted that action travels but comedy does not and that small stories with big themes have a better chance of success e.g. 3.50 which is ostensibly the story of one Cambodian girl but addresses the global problem of human trafficking.

Michael McKay, President of Active TV Asia backed Erika’s point on budgets stating, “Production budgets are really tight, even for marquee titles.  We’re expected to do a lot more with a lot less in Asia than elsewhere although that’s starting to happen around the world.”

To help with the shortfalls governments are getting competitive with incentives, specifically Malaysia who are offering a 30% cash rebate on qualifying productions, which in turn  has led Pinewood Studios to make a massive investment in a 20-hectare state-of-the-art studio complex just over the Straits in Nusajaya.  The first production off the lot will be Marco Polo, co-produced by Netflix and The Weinstein Company for a reported US$90million.  I confess I drove up there the other day for a nosy around and was blown away by the scale as well as the amount of livestock they’re keeping on-set!

Just like in the States producers are looking to brands to bridge the funding gap but that means more compromise and begs the question, who is the “customer” for your content – the investor or the audience?  The TV producers were pretty clear about this with Michele Schofield, SVP of Programming & Marketing for A&E Networks Asia stating unequivocally, “Our method is now to craft shows around client briefs.” Adding, “We cannot greenlight a show until we have buy-in from ad-sales.”  (Independent producers note that you have an infinitely higher chance of a commission if you already have brand budget attached to your project.)  However organisations like HBO, ActiveTV and A&E Networks have significant long-term overheads that don’t apply to a short-term film production.

So, back to film and it seems Southeast Asia is full of interesting stories, emerging talent, increasing infrastructure (visit Viddsee if you need more proof) and one additional thing I found missing in Hollywood – optimism.  In America there was a sense of trying to recapture past glories but in Southeast Asia, our glory days are yet to come, we just need to heed the advice I heard repeated over and over and over again in both locations; don’t wait, just do it!

SINGapore Really Can Sing!

I must admit, long gone are the days when I lugged amps up and down the stairs of London pubs, risking serious spinal injury for the opportunity to play to an empty bar but my passion for music remains and was renewed at this weekend’s Baybeats festival in Singapore.

Many outsiders, and I include most expats in that category, complain via various clichés that Singapore is sterile and uncreative, censored by the government and stifled by the school system and whilst there may be a microscopic kernel of truth in that, the truth is changing fast.  If I can employ my own cliché for a moment, I see Singapore as a sizzling hotbed of creativity and Baybeats proved it beyond any doubt so I thought I’d share a few of my favourite musical discoveries from the noisy, experimental and downright catchy red dot over the last five years (forget this little nonsense!).

Inch Chua

Inch (or iNCH as she’s known in print) is the undisputed princess of power-pop.  Her huge voice emanates from a tiny frame that is brimming with emotion articulated through quirky chord changes and luscious harmonies courtesy of her backing band The Metric System (see what she did there?).  She tore up the stage on Saturday night at Baybeats and deserves to be a global superstar.

Hear/buy more at http://inchchua.bandcamp.com/

Charlie Lim

Listening to Charlie Lim is like listening to John Legend playing Radiohead songs in Dave Grohl’s garage.  Seriously.

Hear/buy more at http://charlielim.bandcamp.com/

Hanging Up The Moon

Hanging Up The Moon is ad-man Sean Lam and friends, including Victor Low of Singapore experimentalists The Observatory.  Completely blissed out, you will struggle to figure out how this was written in a country with a zero-tolerance drugs policy but do yourself a favour; buy a copy, take it to Phuket, roll up a fatty and let yourself go…

Hear/buy more at http://hangingupthemoon.bandcamp.com/

The Great Spy Experiment

My formula for The Great Spy Experiment is passionate vocals + fuzzy guitars x big choruses = grown up emo.  Enjoy.

Hear/buy more at http://thegreatspyexperiment.bandcamp.com/


These guys sound like the summer of 1996, which is weird because they were probably toddlers then!  I discovered Shelves when they headlined the Singapore Night Festival and was relieved that their live sound was replicated on record.  Rough around the edges but with irresistible melodies these guys take me back to my teens when I knew everything but was responsible for nothing.

Hear/buy more at http://shelves.bandcamp.com/

The Analog Girl

A mystery wrapped in an enigma The Analog Girl whispers sleazy electro in your ear with a breathy Shirley Manson voice that is not for the nervous or sexually frustrated.

Hear/buy more at http://theanaloggirl.bandcamp.com/ 


This band’s name couldn’t be more apt; they formed in the early 70s, which is prehistoric by Singaporean standards, and haven’t updated their wardrobe since.  Sadly their lead singer Atwell Jansen passed away last year but I was fortunate enough to see him play his electric violin many times at JJ’s Pub (which I only go to for the music, honestly!).  If you dug the British blues explosion you’ll dig these guys.


I know I must have missed dozens of others that I’ve probably not heard of yet but that’s the fun, finding new bands and sharing them with friends.  Thankfully its getting easier to find them too thanks to the growth of local labels, bloggers, promoters, venues and Lush 99.5, which recently rebranded as Singapore’s official indie music station.  But it’s important that we, as music lovers, play our part too by buying records, going to gigs and letting these artists know that they’re not just wanted but needed by a country still defining it’s identity.  I can’t imagine Britain without Bowie and The Beatles; who will we not be able to imagine Singapore without 50 years from now?

Just Do It – Part #1: Filmmaking The Hollywood Way

First off, this blog is NOT sponsored by Nike (though I wouldn’t be averse to an offer, integrity negotiable), this blog is me heeding the advice of Hollywood’s elite, which I received in person at this year’s Produced By Conference on the Warner Bros. back lot.

Making %22Friends%22 at Warner Bros.

Hosted by the Producer’s Guild of America, Produced By 2014 was the 6th installment of this annual get-together of film and TV producers, not just from Hollywood but across the United States and, possibly for the first time, Singapore.

Speakers included foul-mouthed funnyman Seth Rogen accompanied by his lifelong writing partner Evan Goldberg and their Producer James Weaver as well as David Fincher of Fight Club fame and the legendary Francis Ford Coppola a.k.a. The Don.  The event was held over two days and included sessions on material, financing, marketing and distribution and was the first step in a new journey for me and my company Click2View.

Having spent four years building a stable, profitable and reputable Content Agency my partner and I decided it was time to start creating our own, original content thus made the great personal sacrifice of travelling to Tinseltown to see how the pros do it.

The event kicked off with Seth Rogen who was funny, irreverent and happy to name names.  He talked about his successes like Superbad, Knocked Up and Neighbours but more importantly he also talked about his failures, specifically Green Lantern, and what he said about that experience was echoed throughout the event.  Essentially, the more money a film costs the less fun and control you have and Green Lantern was by far the most expensive film he’d worked on with a reported budget of S$200million!  As an aspiring filmmaker you may dream of directing a big-budget spectacle with an eight-figure allowance and a galaxy of stars but Seth’s advice was blunt and incontrovertible:

First, “Always ask yourself ‘How little can I make this for’?” then, “Just make stuff.”

These two comments set the tone for the entire event.  Wanna become a filmmaker?  Just do it.  One of the biggest takeaways for me was that there is no secret sauce in Hollywood, William Goldman was right, no one really knows anything for sure, which evens the playing field tremendously and means there’s very little excuse not to “just make stuff”.  So where do you begin?  For that I shall turn to the advice of Joe Roth, Producer of Alice In Wonderland, Snow White & The Hunstman and Maleficent who, like everyone, agreed that “IP is more important than cash” but added:

“When selecting material ask yourself a) do I love it? b) can I create urgency? And c) Is it about more than it’s about?”

Sage advice but he saved his greatest lesson for last, stating simply that “failure doesn’t kill you.” Which is good to know because filmmaking is a high stakes game as Glen Basener, Founder & CEO of Film Nation commented in light of his recent trip to Cannes: “There is a massive oversupply of films.”  And when supply outstrips demands it puts the customer i.e. the distributor in control, hence the need for a truly original treatment or script.

But if that’s the case, why does Hollywood churn out such tripe?  Well, that depends on how you define Hollywood.  The identikit blockbusters are all made by the big six studios; Warner Bros, Disney, Universal, Columbia, 20th Century Fox and Paramount and all have huge overheads that require huge revenues to stay afloat.  Huge revenues come from huge audiences therefore it is in their corporate interests to mitigate risk by working only with known brands and catering to the largest possible audience a.k.a. the lowest common denominator.  It’s not that I think all superhero films are without merit it’s just that film, as an art form, needs diversity to survive and stay relevant and I don’t think it’s any coincidence that as films get blander and more expensive, the comparatively economical medium of TV is getting more interesting with the likes of House of Cards, Game of Thrones & True Detective.

Producers of these shows were also present at the event and were all of the opinion that we are living in a golden age of television, which has different success factors to the film biz.  For starters, they do not live or die by their opening weekend numbers, in fact it can take several seasons for a show to find its audience such as Mad Men or original gangster The Sopranos.  These shows are built around unfolding characters as opposed to unfolding plots and are experimenting more with form by allowing binge watching (House of Cards), adding second screen interactivity (Hannibal) or resetting the entire cast and location each season (True Detective).  For aspiring TV producers there are a far greater number of production companies, TV channels and indeed TV screens than there are studios and cinemas so the possibilities are multiplying massively.  (For precise numbers read my accompanying blog for Click2View here: http://click2view.asia/hollywood-content-marketing/).

But back to film…everyone who is not a studio, from Click2View to Lionsgate, The Weinstein Company and even Dreamworks is an independent and they are more accessible than you might imagine but they’re not essential to get your start.  With the democratization of technology, the proliferation of social media, film festivals, video-on-demand (VOD) and other marketing and distribution platforms the old Hollywood machine is increasingly being disintermediated allowing for more creative and challenging fare.  Think about it, if content is king who needs the rest of that bullshit?  And that’s a very exciting prospect indeed.

At some point of course you will need some money and that generally comes from a combination of three sources; soft money (i.e. government incentives), pre-sales of distribution rights to foreign markets and private equity which nearly always begins at home with friends and family.  But as Mr Rogen so succinctly put it, “Getting the money is the worst part, it sucks.”  So what is a future Fellini to do?  Well, if I might be permitted to add a morcel of my own advice, find collaborators.  Filmmaking, like business, is a team sport and you need people on your team who are, if not experts, then at least enthusiasts for all the other aspects of filmmaking your either don’t know, don’t get, or don’t care about.

Rogen’s suggestion was to “surround yourself with good people” and “make use of willing and ambitious talent who will work for less then reward them with a Co-Producer credit for example”, at which point his own willing and ambitious Producer James Weaver, added “always take meetings, it’s a great way to meet talent.”  I couldn’t agree more, the success we’ve had at Click2View owes something to all three of these golden nuggets and I’m a huge proponent of ‘getting amongst it’ so find your local film society, AV club or theatre group and go meet your future collaborators, that’s what I’m doing!

Finally a word from Francis Ford Coppola who, along with Rogen’s band of merry men, proved to be one of the most inspirational and optimistic orators amongst a line-up of old-school producers panicked about piracy and lamenting the loss of some mythic golden age of filmmaking.  He said simply:  “You are unique, if you make personal films they will be unique.”  Agreed.

Download the unedited notes from the sessions I attended here: NM_PBC2014_Notes and standby for Just Do It – Part #2: Filmmaking the South East Asian Way from my recent visit to Broadcast Asia’s Creative Content Production Conference in Singapore featuring some of SEA’s most exciting new producing and writing talent.

Virtually Innocent

According to the date on my last post I’ve been a lazy bugger for the past five months, possibly swanning around in my smoking jacket awaiting inspiration however I’d like clarify that is not actually the case.  Having struggled to get past chapter five of my novel Roll With It I thought I would set myself a more achievable goal lest it all seem a bit too much like hard work.  That goal was to write a 10,000 word short story and, after five months of writing, re-writing, scrapping, burning, dowsing, recovering and eventually writing again I am proud to present my first substantial piece of short fiction entitled Virtually Innocent.

FREE DOWNLOAD: Virtually Innocent by Neal Moore

Inspired in part by Charlie Brooker’s Black Mirror series Virtually Innocent is a present-day sci-fi that asks whether technology can fuel or foil our basest instincts.

The story centres around Alex, a Virtual Performance Designer at a top movie effects house, who decides to use his talent and technology to sate the desires of society’s most depraved perverts in the hope that this will prevent them succumbing to their urges, but will he succeed or just make it worse?

It’s a 30 – 45minute read with a little love story weaved in there too.  I’d be delighted if you downloaded it (for free), read, reviewed and shared it with others but beware, it’s probably not for those of a sensitive disposition.

Best, N

Happiness Is A Cigar (Period)

Back in the 80s there was a legendary ad campaign in the UK with the tagline “Happiness is a cigar called Hamlet”.  Well, forget Hamlet and I think they may be on to something.

I used to be a smoker, a proper smoker not a so-called social smoker; in fact I smoked around 15 cigarettes a day for 13-odd years, which means I got through 71,175 in my time.  These days I only smoke cigars, twice a week, and am no more likely to call myself a “smoker” than someone who enjoys the odd glass of wine would call him or her self a “drinker”, with all the connotations that implies.  Smoking cigars, for me, is nowhere near the slavish addiction I had to cigarettes but far closer to the rarefied pleasure of decanting a fine spirit into a polished glass as a reward, or consolation, for the day’s endeavours.

When people see me whip out a stogie many get curious; they want to know how cigars are properly smoked and why those that enjoy them seem to enjoy them so much.  Most people who claim to have tried a cigar say that they didn’t like the taste or, worse, that it made them feel sick.  And they’re probably right, for there are different grades of cigars and different ways of smoking them.

Most people’s first experience with a cigar is as an emerging adult; they are bought en masse to celebrate a graduation, a bachelor party, marriage or birth of a baby.  They are bought because they are seen, in popular media, as an essential part of the celebration ritual much like champagne or presents.  However, though most people know the name of a decent champagne and can easily acquire a bottle from the local Offie most people don’t know the name of a good cigar and buy only what’s available behind the counter, which more often than not is a Hamlet, a Henry Winterman or a Café Crème.  These are to premium cigars as Babycham is to champagne, a woefully weak imitation.

Premium cigars are a different breed, constructed in three parts; the filler, the binder and the wrapper, from the finest hand-picked tobaccos grown, not just in Cuba, but also Brazil, Cameroon, the Dominican Republic, Honduras, Indonesia, Mexico, Nicaragua, the Philippines, Puerto Rico, the Canary Islands and the Eastern United States.  I won’t go into the whole process, that’s what Wikipedia is for, but I will try to explain the unique pleasure I, and my cigar-smoking friends, get from this particular indulgence.

The Range

Just like wine (or whisky) there are scores of cigar manufacturers in different parts of the world producing dozens of blends and brands in a myriad of shapes, sizes and colours.  Just as you may have a preferred wine maker or region that produces a particular grape blend or label you like the same can be said of cigars, meaning there is lots to learn, lots to try and lots to discuss.  It is a subject with deep roots and innumerable branches and the more one knows the greater one’s pleasure.

The Ritual

Cigars aren’t smoked liked cigarettes and I don’t just mean the way you suck ‘em.  I mean that you don’t absent mindedly extract one from a box of twenty identical sticks, spark it up and suck it down before the boss notices you’re gone then race back to your desk.  You make time for a cigar; first you need to select the right one for the moment depending on the time you have, the mood you’re in and what you’re pairing it with.  Then you have to prepare it by either cutting or punching the closed end or ‘cap’ before lighting it by gently rolling the open end or ‘foot’ over a blue flame being careful not to touch it but holding the tobacco close enough so that it naturally combusts.

The Kit

To complete the ritual, you need the kit.  First comes the humidor, an airtight lacquered box generally lined with Spanish cedar wood that keeps the cigars humid; after all there’s no smoke without water.  (Case in point, if you want to send smoke signals from a campfire you need to cover it in moist leaves, not dry ones.)  Cigars at the Off License are not kept in a humidor, neither are they hand-rolled or made from hand-selected tobacco for that matter.  They’re actually made from tobacco scraps that are artificially flavoured, homogenized into sheets and rolled by machine.  They are essentially the Chicken McNuggets of the tobacco world, which may explain the sickness.

Next is the punch or cutter, there are many different styles of cutter; the guillotine, double guillotine, scissors…  They all achieve the same end but are similar to a bottle opener in the process of getting in to a cigar and can be a work of art in themselves.

Then there’s the lighter.  Cigars burn hotter than cigarettes because they’re not infused with flammable chemicals therefore it’s best to invest in a butane lighter if you don’t want to relight every few minutes or rely on long matches in a stiff breeze.

The Smoking

Finally, there’s the actual smoking.  The smoking of a cigar is not to be hurried.  Unlike the humble cigarette a cigar is entirely organic and not pumped full of chemicals to enhance the nicotine or increase the pace and evenness of the burn.  They burn very slowly and a single cigar rarely takes less than 15-minutes and can take up to an hour-and-a-half to get through depending on the size, the humidity and of course the smoker.

First you take the smoke into your mouth but you do not inhale.  Like the grapes in wine, tobacco leaves take up the properties of the environment they are grown in.  Typical flavours within the smoke include nuts, coffee, dark chocolate, red wine, vanilla, leather and herbs.  Some are more ‘full bodied’ than others and the taste can even change depending on age and humidity. (Yes, cigars can be aged.)

Once you have had a satisfying hit of the flavor you slowly allow the smoke to escape your mouth and maybe inhale the last 10% just to get a little buzz going.  Any more than that and the nausea of the inexperienced bachelor party smoker will kick in and spoil the moment.

For me cigars are natural, artisanal and feel authentic in world stocked with machine made, mass-produced mediocrity.  They require care and consideration to smoke well.  They’re a rare treat that helps slow life down and create moments of contemplation in an otherwise hectic schedule.  If you’d like to try or learn more visit your local Cigar divan and ask them to make a recommendation or else check out the videos in Cigar Aficionado’s Newbie Corner.  If you want a personal recommendation drop me a line, Nx.

Get Therapised!

I once read a great article about the portrayal of mental illness in movies; how it’s all either raving mad men brandishing axes or glassy-eyed window-lickers rocking back and forth in the corner of an asylum, the point being that, in reality, most mental illness is very dull and that’s because most mental illness is Depression.

I myself have dealt with depression; several years ago after a split with a significant other I found myself on the well worn path to oblivion with a certain Mr. Jack Daniels as my guide.  I’ll spare you the boring, mostly bed-ridden details but after a couple of heavy drinking and smoking years my mind and body got together and staged a mutiny outside Liverpool Street Station one morning whereupon I collapsed, a shivering, snotty mess atop the escalator opposite Pret a Manger.  Following a swift assessment from a bored looking City nurse who placed me squarely in the stressed-out-cityboy box  (probably her dozenth that morning!) I was referred to my GP who, along with the usual words of wisdom about less booze and fags, more sleep and exercise, recommended a course of CBT.

CBT stands for Cognitive Behavioural Therapy and is typically a 12 week course of one-hour appointments that aim to equip you with the tools to make better decisions i.e. deal with the symptoms of your depression better.  This worked for me for about six-months; choosing the gym over the pub, a salad over a kebab, a wheatgrass shot over a tequila one, but sadly I couldn’t stick to it.  The issues underlying my depression were still there so I decided to look into psychotherapy, which brings me right back to my reason for penning this post…

I am, as you may know, an otherwise healthy, middle class white boy from a loving two-parent family who raised me to get a decent education that would provide me with choices as an adult.  Ergo, when I first considered going to therapy for my depression I experienced a lot of guilt.  I spent a lot of time looking in the mirror and asking myself Why do you need to see a therapist?  What have you got be depressed about?  Don’t you know there are people dying in the world?!  This, I have learned, is common.  Many of us don’t believe our depression is worthy of professional attention because many of us don’t class it as an illness but it is an illness, an illness of the mind and just like every other part of the body the mind has its own specialists.  So let’s use our minds for a moment to imagine someone we care out being physically ill, lying in bed with a red nose, sore throat and streaming eyes.  They look up at you and say, “I think I’ve got the flu.”  How do you respond?  Do you look back at them incredulously and ask “Why?”  If they suggest that they might need to see a doctor, do you snort derisively and demand to know “What for?”  I doubt it, because you can see they are in pain, the symptoms are clear.  However, for many depressives incredulity and derision are typical responses to their diagnosis.

Unfortunately, depression doesn’t care about your upbringing, your education or your social status any more than the flu does.  It’s an illness.  And just as you don’t have to have trekked through the arctic in your underwear to catch flu, neither do you have to have participated in a bloody war or seen your parents gunned down in front of you to get depression – it just happens.  When it does you need to treat it like you would any other illness, go to your doctor and consider seeing a specialist i.e. a psychotherapist.

Think about it, you wouldn’t suffer in bed with the flu refusing to see a doctor or drink your Lemsip because you felt guilty about it would you?  So why would you suffer with depression when the treatment is just as readily available?

As I said, when I first considered going to therapy I experienced a lot of guilt; I didn’t think my issues were worthy of therapy, that other people have it much worse than me.  Well of course they do!  And just because other people are dying of cancer doesn’t mean you shouldn’t see a doctor about your sore throat or runny nose.  If your mental or physical health is impairing your quality of life and you have the motivation and the means to do something about it, you must.  It’s those that wallow in self-pity or who continue to bring others down through their persistent negative attitude and poor lifestyle choices that should feel guilty.  Make a positive choice; if you think you’re suffering from depression – get therapised!

The Writer – An Experiment in Video

Ordinarily when I shoot it is with a full crew and broadcast quality kit however I wanted to see what I could accomplish with the bare minimum of equipment and expertise so challenged myself to make a film, with no help, using just a handicam and iMovie on my Mac.  This is the result.

I’m fairly happy with it in so much as it plays to its strengths rather than exposing its weaknesses i.e. I had no mics so didn’t try to record live sound but rather recorded a VO into the internal mic on my Mac using Garageband afterwards.  Making it also reminded me that video is just a benign medium and content is what’s important.  If you have good content the quality of the video is less of a concern as evidenced in breaking news reports; when professional cameras can’t reach the scene mobile phone footage is fine because the content is what matters.

Anyway, I’m now considering turning this into a little series to keep me out of trouble so watch this space. Nx