Director & Producer

Case Study: Alcon Laboratories | Creative Services Video Studio Upgrades

Overview of the Client

Alcon Laboratories, a leading eye care company, is headquartered in Fort Worth, Texas. Within their main office is a small Creative Services group comprised of Graphic Design, Photography, and Videography Departments. Each of these departments has its own office and studio space.

Background

I joined Alcon as a Video Producer in May 2012. Prior to my arrival, the studio primarily handled basic projects like talking heads and group interviews. Equipment was acquired on an as-needed basis, such as a studio set for CEO shoots or a Tricaster 300 to reduce editing expenses. My vision was to transform the studio into a high-quality production environment that was both efficient and welcoming. I aimed to create a space that would facilitate the production of a diverse range of video content, from corporate communications to more creative and engaging visual stories. Between 2012 and 2017, I executed a comprehensive plan that revolutionized the studio, resulting in the production of over 300 videos annually.

Phase 1

When I started at Alcon, the studio set had been removed, leaving me with a blank backdrop. Throughout 2012, I familiarized myself with the production processes and presented proposals for studio upgrades. We began by painting the walls a neutral grey, mounting lights on the ceiling for consistent shoots, and outfitting our cameras with additional teleprompters.

Phase 2

Recognizing the increasing demand for chroma key shoots, we decided to repaint the walls green. This introduced challenges like green spill on subjects during non-chroma key shoots. To address this, we acquired foam-core walls for light bounce and spill minimization. We also purchased a Manfrotto backdrop system for quick backdrop changes. Realizing the potential for faster production, I proposed significant upgrades to enable quick setup transitions and create a professional, inviting environment for talent. I made a list of upgrade items, drew schematics, met with vendors, and temporarily shut down the studio for construction.

Phase 3

Working with Whitlock, we designed and implemented major upgrades. We installed a rack that networked the Video Studio, Audio Studio, and Editing Suite. We drilled holes to run audio and video cables underground, connecting the audio studio 50 feet down the hall and the video studio in the next room. We added teleprompter hookups, a dimmer pack for light control, and video inputs for connecting computers or surgical equipment to the Tricaster. We also installed a large confidence monitor in the studio. 

These upgrades significantly improved our efficiency and utilization of the Tricaster. To address the downtime caused by transporting the Tricaster for location shoots, we decided to purchase an additional Tricaster and a travel case for the Tricaster 300.

Phase 4

Acquiring the Tricaster 460 allowed us to make the Tricaster 300 a portable unit. This flexibility was perfect for live video streams and interactive demos with associates in remote locations like Europe, Japan, Russia, and Latin America. The portability of the Tricaster 300 enabled us to set up and break down our on-location shoots swiftly, reducing downtime and increasing productivity. My live edits in the studio became faster, often completed before the client returned to their office from the shoot. This efficiency not only impressed our clients but also demonstrated the enhanced capabilities and versatility of our upgraded studio setup.

Phase 5

The final upgrades included installing a Manfrotto Sky Track system for quick light repositioning and sound insulation to minimize echo. We also added another teleprompter input, additional camera inputs for our newly acquired RED Scarlet-W, and an Apple TV for remote iPad applications. These upgrades led to a significant increase in project requests and faster turnaround times.