R|com Creative Blog

So, check out the photo. See where it says “microRemote” on the display? You’re looking at an iPhone. Or, alternatively, it could be an iPod Touch. Regardless, this is one of the most important new product releases since the DSLR rage hit. It doesn’t matter if you shoot with a Nikon or a Canon or whatever – if you shoot HD video, this is a really important piece of kit.

Essentially, this is a wireless, handheld, follow focus automation device. One of the big problems with DSLR rigs is they’re still small, even when you add a mattebox, viewfinder, etc. So, when the shot really counts and you’re shooting with sticks, this is a terrific way to better manage the shot.

It’s totally cool that RedRock Micro has delivered an Apple-certified iPhone/iPod touch application specifically for focus automation. And, if you add all of the proper goodies, it’s so James Bond or Jason Bourne, or (pick fave actor or serial adventure star here). It’s also cool that you can use your iPhone without lamenting about how lame AT&T is.

I could go on and on about this neat new tool. I won’t. Instead, check out the totally sales-oriented, but still nicely produced sales pitch video [ watch video clip ]

Using the iPad to show HD video on a large TV at LAFD headquarters.

Per my previous post on the iPad, everyone here that uses one has been enjoying the experience. However, there’s no doubt that our use is not “average.” Separate from development, we use the iPad to review video with clients, to deliver presentations, to connect to our servers and server farm, as a slate during video production, as a teleprompter, and so on.

On Tuesday of this past week, it all changed for me. My Macbook Pro (nearly 3.1 years old), suffered a miotechnical infarction. It had a CPU attack – and died. As a side note, I find it bizarre that it would die within a few days of its AppleCare protection expiring, not to mention on the same day as the new MacBook Pros being introduced by Apple.

Getting a new computer would be easy, but in the midst of the huge number of projects, the last thing on my mind was getting a new laptop. Worse, the prospect of migrating several hundred megabytes of data and applications was not inspiring.

It got worse. No matter what we did (the dealer and I), we could not get the content of my old Mac to transfer to the new one. Meanwhile, I had work to do. So, I decided to see what I could accomplish using the iPad. I left the migration project with my dealer, who diligently attacked the problem.

I have an iPhone and it’s great for email. I rarely use it for longer email notes. So, with the iPad in hand, I decided this would be a good test. Apple Mail is not my favorite app (on the Mac), but on the iPad, it was refreshing and even, careful now – fun. Apple gives tremendous thought to the process of their products, and it makes all the difference in the world. I love the way the in-box displays, the images pop up, etc. It’s very slick. The big trick was using the built-in keyboard.

For the first few email notes, I was not impressed. It seemed that I was missing keys and looking for other keys that weren’t there. Well, they were, but you had to swap overlays to see and use them. After three email notes, I answered the phone and walked away from the iPad.

When I came back, it was as if I had suddenly mastered typing on the keyboard. It was a cross between iPhone email and the Mac – the auto-spell-check worked nicely, and the graphical display and orientation of mail was easy to follow. In fact, it made sorting and responding to email far easier than on my desktop app (Entourage). So, using the iPad for email proved to be a snap.

Speaking of keyboards, I have been working on several reports, and thankfully, copies were stored in my mobile me account. So, I connected and transferred the files to my iPad. That was easy. But, then, after two pages of typing on the graphic keyboard, I started to get frustrated. I can type quickly. I cannot type quickly when using the iPad. Roadblock.

Then, I remembered I could use a bluetooth Mac keyboard. So, I drove to our office and snagged one from a workstation (sorry!), and brought it home. I plugged the iPad into the neat little stand you can get, and connected the keyboard. Now, I was typing quickly again. And Apple Pages for the iPad is totally cool – and it’ll cost you ten dead Presidents, so it’s cheap, too.

The next morning, in my email, I received a film budget in Excel format. Jeez, now what? Oh, I remembered that Apple Numbers was available – I already had Keynote and Pages. So, I tapped on the Apple iTunes Store (remember, we no longer click – we tap), and within a few seconds (literally), I had purchased Numbers (also ten dollars), downloaded it, and was reviewing the spreadsheet. I made some changes, and then sent it back to my finance guy. So, although I wasn’t editing video, I was doing many of the things I do with my laptop. And this is in between all of the things I’ve discussed in my previous post – keynote, video, audio, networking, etc. I was doing all of that, too.

After two days, my new laptop was ready to be picked up, but I was pretty surprised and pleased with the iPad as an everyday communications device. I would note that using it that way is not its strength. It’s really ideal for the other types of uses previously described, but when called upon, it stepped up and for the most part, was a workable solution.

Would I stop using a laptop? Nope. But, the iPad has changed the way I look at computing. The devices have started to fall into different use categories. My MacBook Pro is essentially my primary computing device. I can take it from home to the office. If working on a film production, I can take it on location. However, when running around town, meeting with clients, etc., I don’t take the laptop. The iPad is far more convenient, and workable. There is no doubt it will help us build our business. But, that’s a different story for another time.

I can connect to my Mac and control it from the iPad. Cool!

The Apple iPad has been on the market for a week. In that time, it has been both praised and condemned. Those who have grabbed one have been called lemmings, sheep, and just plain stupid. After spending extended time with the iPad, I believe it to be a game changer. No, it doesn’t replace a netbook. It isn’t a laptop killer. It does, however, establish something that Apple has proven to be expert at: evolution that benefits the user.

I’ve been asked on multiple occasions, “why do you like the iPad?” At first, I really couldn’t say, specifically, what it was that made me so giddy to pick it up and turn it on. Now that some time has gone by, I have a good idea about how important this new device might be…

The iPad redefines how we as individuals and groups use the Internet and share content. In that regard, it’s nearly perfect. It also can redefine how many types of individuals and industries use lightweight hand-held computing devices. If you focus your attention in that area alone, the iPad is not ideal – at least not yet.

Too many devices today try to do things that relate to “functions” or “applications.” In fact, in many cases, the things that people complain about in terms of features are things they already have, or, better put, that aren’t really important (yet) to the iPad. A camera is a perfect example. Could you use a camera in an iPad for a variety of things? Sure, but to do so, the applications and how users interact with the device would take on an entirely new level of complexity and support.

The iPad is so remarkable because it does specific things so well. It’s bright. It’s fast (relatively). And, it draws the user in. No mice. Just tap. Tap and watch. Tap and read. It’s bright, clear, focused, and uniquely pleasant.

It doesn’t feel like a computer. And in that regard, it will be attractive to ordinary people – kids, parents, teachers, trainers, business people, designers, sales people, and so on. Grandparents will delight in its simplicity and ease of enjoyment. Photo galleries are stunning in quality. Videos are crisp and HD movies look terrific.

I would also like to end some confusion for those PC fanboys out there that don’t understand products designed for people and harp on misinformation so they feel better about themselves:

1. I can print from the iPad (network printing).

2. I can share files with my Mac or PC via the iPad.

3. I can create and manage a file structure for the iPad.

4. The iPad (and iPhone) are multi-tasking capable. The limitations are intentional, temporary, and oriented around quality product development and usability. See iPhone OS V4 for an update on that.

5. It isn’t a slate PC. Bill Gates proved that nobody wants one. Apple sold more iPads in the first week than slate PCs have been sold in a decade. Ouch.

6. Apple is expert at marketing 101, 201, 301, and beyond. So, expect the iPad, as with every Apple product, to evolve.

There are plenty of reasons to not purchase an iPad. I guess the key reason I’ve written this blog entry is because it is so remarkably cool for content creators – and that’s what we do. Create content.

It is important that anyone who uses an iPad “get it” as well. So, here’s a test: Go to an Apple Store or visit with a friend that has an iPad. Visit the BBC news website. It looks like a fairly standard newspaper website. Now, launch the BBC iPad app. What happens? It loads faster. It is far easier to navigate. The video clips are built into the stories – it’s totally Minority Report – but it’s happening now. If the iPad version of the BBC isn’t more appealing, don’t buy an iPad.

So, what does this have to do with a creative media publisher?

It opens a new door for us. We can share our work with clients more easily. We can improve our work in the field. We’re already using our iPads as slates for each take in video production. We have a teleprompter app that runs beautifully on the iPad. Our presentations, all created in Keynote on a Mac look great – and I can show the presentation to a group of three or four, or, using the RGB connector, can show it to a room of 200 people.

Most importantly, we don’t feel like we’re using a computer when we pick up the iPad. It’s more akin to using a television, or – and this sounds silly – like diving into a good book – and no, I’m now saying it’s like “reading a book” because it’s more than that. What the iPad does better than anything I’ve seen in my 30 years of creating software, video, websites and so on -  is share content. And for content creators, ranging from our boutique firm to a major newspaper or magazine, that’s good news.

Canon EOS 7D on location shooting full HD 30p

One of the things our team spent considerable time evaluating was video formats. What I am referring to is the format used for compression when shooting full HD video. While our team has years of experience with HD production, eliminating tape has been the important migration for us. Tape is not dead, but for the types of product we create, we can be far more competitive if we produce our shows without tape.

So, learning about the various options has been extremely important to us. And, as many other producers and creatives read this blog, it makes sense to share our experience. And, the most important initial obstacle has been the variety of claims made by manufacturers regarding the compression formats chosen, and how those formats interact with the other capabilities of the various HD cameras under consideration.

Brand loyalty stepped up right from the start. We’ve had some wonderful experiences with Panasonic cameras in the past – in our standard definition days. That “panny mojo” image is hard to beat in terms of warmth and contrast. But, in spite of that, we’ve been very loyal to Sony. We’ve had Sony cameras and other gear in use in the harshest of conditions, and in every case, the gear has worked, and we’ve been comfortable not only with the results, but the production process (usability) as well.

I was fairly interested in the Sony EX (XD-CAM) format, but had some reservations. CMOS sensors in the EX1 and EX3 meant possible problems when shooting in certain conditions or with strobe lights – and as we work with the Los Angeles Fire Department, that worried us. A test shoot revealed all kinds of shutter issues, even when the shutter was shut off. Oops. I was also concerned about MPEG-2 Long GOP (group of pictures) as a recording format generally, even though the images were lovely when viewed on a large HD monitor. Finally, the SxS memory cards are not cheap – the 32GB cards we’d use were on average $800 (street price). So, for six cards, that would require an outlay of $4,800. That was almost the cost of the EX1 itself (street price). And, for the first time in a long time, the ergonomics of the EX1 did not sit well with our camera operators.

Still… We are Sony fankids.

Directing Lakers star Pau Gasol while shooting with the EX3.

To further test the format, we produced a public safety announcement with the Laker’s Pau Gasol using the Sony EX-3 camera. Nice. But a bit of a pain to ingest the media, and in my mind, some limitations on use. The real difficulty is that we love Sony products. They are so well thought-out, produced and supported. That almost made us opt for the XD-CAM environment, even with the limitations we were aware of.

The market helped us. In addition to video, our still photography needs were increasing. The arrival of the Canon 7D DSLR really impacted us. Still and HD video capture in a single device. That, and the ability to use motion picture-style lenses, camera rigs, etc. was extremely attractive. The Canon 7D uses AVCHD as a compression format. Would it hold up?

Philip Bloom, a British DP, helped us in that regard. His videos using the Canon 7D are the best sales pitch anyone could imagine. It sold us. And in so doing, opened a new door – the option of AVCHD (MPEG4/H.264). Oh, and the 7D, with its 18-megapixel imager and other capabilities helped us execute quality still shoots, too. Thanks, Phil!

I began to evaluate all of the pro cameras that used AVCHD. Many were consumer, but a few were emerging that caught my eye, including from Panasonic. In internal discussions, however, our lament continued: “Why no Sony pro camera with AVCHD. That’s not good!” Our impression was that if Sony didn’t do it, there was an important reason.

Our need for gear had us tilting towards several camera options, none of which we were thrilled with, except for our Canon 7D. And regardless of the picture quality, the shape and format of the gear made it a tough choice when shooting news or POV documentary material.

Cameron uses the NX-5u on location

And then, without warning, Sony reappeared. It locked in everything we were considering. The Sony NX5U camera was introduced and everything just fit into place. The new NXCAM solution from Sony utilized AVCHD. We spent some time with the prosumer version of the camera at CES. That really settled it. Now, we have three cameras, all using AVCHD (variations) and all ideal for import into Final Cut Pro, Premiere, or Avid workstations.

The Canon 7D is our portrait interview camera. It’s a film producer’s wet dream: the images are so lovely and really convey a film-look. But, not so easy to hang from a helicopter with one, even with the cool Zacuto, RedRock, and other camera rig options out there.

The Sony NX5u becomes the primary workhorse. Remarkable lens, combined with typical Sony quality means we’re able to shoot in nearly any environment easily and with top quality results. The NX5u continues to impress me every time I pick it up or review material captured with it. Just having separate rings for iris, zoom, and focus make this a wonder to use.

And finally, the Panasonic HMC-40 is our ideal B-camera. It’s small, so we can shoot in any number of places where we don’t want to be obvious about our use of a pro camera. It isn’t CMOS, but rather 3MOS CCDs, so we can shoot strobe lights all night long. It has long-lasting batteries, and delivers really fantastic images. They have that “panny magic” warmth to them. I hate the viewfinder and find it a huge pain in the ass to use, but for specific types of shoots, it is a great asset. And, frankly, at $2,000, if we get melted in a structure fire, nearly  drowned in a swift water rescue, or dusted up while shooting a documentary in Australia (as we do every few years), it’s not too tough to replace.

But wait, there’s more! All three cameras have HDMI out. So, connecting our Marshall field monitor to any of the three is a plug and play exercise. The Sony and Panasonic use the same HDSC memory cards, and at roughly $80 for a 16GB card and $200 for a 32GB card, the data is affordable. Use a proper card storage device and you’ll not have to worry about damaged cards, either.

Finally, they all easily transcode to ProRes or ProRes 422 for post production work. The net result is a full production suite of camera kit that is ideal for nearly any situation. If there’s an irony, it’s that AVCHD is owned (trademarks, etc.) by BOTH Sony and Panasonic. And, as customers, we’re using both together.

The introduction this week of the new NXCAM format is really great news for anyone producing a wide array of professional video product, and notably for documentary producers. The camera combines capabilities found in other manufacturer’s (often more expensive) products and the result is a flexible, high-performance full HD camera. When I started blathering on about how thrilled I was that Sony had taken this step, peers and staff asked the same question over and over again – “Why?”

The initial model (unnamed as of this date) in the NXCAM series does a number of really important things: It records AVCHD full HD 1920×1080 material (in all variations of resolutions) and as such, is easily compatible with other cameras, including as one example, the Canon 7D hybrid still/video camera. It utilizes a relatively new type of glass, and although fixed to the camera, this lens, called a G-Lens, delivers excellent optics, no doubt a result of Sony’s purchase of Minolta. And, the camera is ideal for the wide variety of production requirements a documentary requires.

In our situation, we’re interested in the best tool for a variety of situations. That means we’ll shoot portrait interviews, mount a camera on a moving vehicle, hang from a helicopter, and so on. And, if we’re doing all of these things, it also means we’re shooting a lot of material (hours vs. minutes). If you’re making a film, you’ll work from a shot list, and the shooting ratio may be 3:1. In our documentary work, we’re going to capture reality as it occurs, and then weed out the footage that isn’t essential to telling the story. The result is often 30:1 or higher. That’s right, we may shoot 30 hours of video to get a one hour show. In fact, for a documentary we did in Australia that covered two weeks of a cross-country race, we shot more than 100 hours of video. The final product was a broadcast-ready 44 minutes.

The AVCHD format is ideal for this type of work. And, being able to record to a flash drive that mounts into the camera is fantastic. There’s no box attached to a shoe that gets in the way of moving the camera about. It snaps into place. You can record literally hours of material, and then, using USB connectors, transfer the files directly to your PC or Mac.

There’s more to like as well. The imagers in the camera are native 1920 x 1080. The imagers in other cameras in this class are typically 720p and upscale to 1080p. This is really important and becomes even more so when you discover that the camera will output a full HD 4:2:2 signal via the built-in HD-SDI port while shooting. That type of flexibility allows us to integrate this camera with other, far more expensive cameras.

It’s difficult to capture a strong, clear image if you can’t see what you’re doing. The NXCAM shown off by Sony offers a 1.2 million pixel 16×9 display using backlit LED technology. The Panasonic HMC-150, by comparison (same compression system, similar price, etc.) has a display with approximately 210,000 pixels in a 4×3 display that is letter-boxed. What? To use the Panny (which has great images), you really need to add an external monitor, or you’re going to be disappointed with the results. Sony avoids that extra complication. Add-on monitors are terrific if you’re on a tripod and locked off. They don’t work if you’re jumping off a fire engine and following firefighters into a smokey building. Sony resolves that problem with not only the flip-up external monitor, but the built-in viewfinder as well. You can learn more by watching the intro video produced by Sony.

So, as we envision some of the production work we’re scheduled to produce this year, the Sony NXCAM fits in really well. We can shoot portrait interviews using prime glass on our Canon 7D. We can match that (remember, same codec) with footage captured “in the field” with the Sony NXCAM. And, we can edit in both PC and Mac NLE solutions without drama. No tape. No fuss. Oh, by the way – there’s more to like as well. Because we shoot on location, as documentary producers, we are careful to log everything we shoot. Now, with the NXCAM, there is GPS data added to the metadata of each file. Whoo hoo! So, the next time we travel 2,000 miles across the Stewart Highway in Australia, we’ll know where each shot was captured. And, if we decide to shoot in a studio, we can lock multiple NXCAMs together, thanks to the new (if proprietary) timecode in and out connectors.

The only bad news is that the camera isn’t available yet. Hey Sony – want some remarkable footage of firefighters saving lives? How about the California coast and wine country? Or, how about some footage of the latest sports cars being testing on windy country roads at speed? If so, get us an NXCAM ASAP. We aren’t asking for a freebie. We’ll own it. Love it. And we’ll tell the world.

This is the final cut for the short film about Carol Anne McGuire and her program of music and education: Rock Our World.

Our team has recently completed production of a short mini-documentary project.  It has been one of the most delightful experiences we’ve had in the production space. The film is called “Harmony” and is about a remarkable teacher, Carol Anne McGuire, and her education program, Rock Our World. This is a “fine cut” of the project – a final cut will be completed shortly.

We first met Carol Anne five years ago. The Apple Distinguished Educator was part of a group of teachers we were videotaping for Apple. When we learned about Carol Anne and her interest in changing the world, we were smitten. At the time, Carol Anne was teaching at a school in Orange County, CA. She had just made a video film, using her students. The film was about themselves. All of the students were (and are) blind. But, that’s Carol Anne for you.

More recently (as discussed in a recent blog entry), Carol Anne has been working with the New Village Leadership Academy in Calabasas. She has been sharing her ongoing core curriculum teaching program that is founded on an international collaboration of music. The program is called “Rock Our World.” It is one of the most amazing methods of delivering education I’ve ever seen.

As Carol says, “when I was a kid, if I wanted to learn about Japan, I’d pick up a book and read it, and that book might have been ten, twenty, or even fifty years old.” Today, when Carol Anne’s students want to know something about Japan, they place a video chat call. Literally. By building musical scores with schools from around the world, and injecting core curriculum (math, science, social studies, etc.), Carol Anne’s children discover a bigger world. And by becoming part of it, they make it theirs – and perhaps a bit smaller, too.

This short video is hopefully a preview of a full-length documentary on the subject. The fine cut process is important, as it gives the filmmakers (us!) the chance to step back from the project for a few days. We can look at the film and evaluate little changes or updates that will help increase the end-result.

Apple CEO Steve Jobs addresses the crowd

This week marks the last MacWorld Expo that will be attended by Apple. Steve Jobs did not deliver the keynote address. For many people, this signals the end of an era, and for them, I guess it is. I would propose, however, that it is merely the end of one chapter and the beginning of another in the ongoing arena of personal computer use.

Apple has evolved. It attracts more people to its stores on a daily basis than dozens of MacWorld Expos. As professionals that rely on the tools that we use to help our clients, isn’t this an opportunity for the MacWorld Expo to evolve as well?

Paul Kent, the GM at IDG who runs the MacWorld Expo is a pretty smart person. Although we haven’t spent any time together during the past two years, I’ve known Paul for more than a decade and he has always been about education, evolution and guitars. In my book, that’s a winning combination! Prior to running the overall show for IDG, he was responsible, via his own company, for the conference and seminars. I would guess that Paul might have a clue about what comes next, and something likely will, even if it is completely remade – new name, new place, etc.

There is a place in the world for a Mac-specific trade show. In fact, there are probably several of them, but in today’s world, the niche value is what’s important to those of us who use the tools. For example, we use Mac technology for our video post production work. So, a show that is specific to the Mac relative to video would be of interest. And even more so because of the Mac itself.

The Mac represents more than a tool, which is why some people don’t care for it. It represents style. Class. Elegance. And, Apple has been smart – they’ve moved away from direct PC comparisons, such as processor performance, to keep the mystique of the Mac in the forefront. And, I think it works.

I was an exhibitor at the very first Macworld, in 1984. It was not at Moscone, as it has been for more than a decade, but at a smaller venue near city hall – and it was underground. Literally. The booths were mostly pipe and drape, with some carpet thrown in. Most were ten by ten or ten by twenty. And the innovations that were being shown were all about things like “desktop publishing.” So, the people who were attending were interested in low-cost productivity tools that related to printing, design, newsletters, etc. Today, my mother-in-law is snapping photos with her digital camera, ingesting them into iPhoto, making books, slideshows, etc. It’s just part of how she communicates with her children and grandchildren.

The last MacWorld I attended was two years ago. In between, I didn’t miss one. As an Apple vendor and developer, we often had software before the public did. We often had the hardware prior to public release, or knew about it. And, in many cases, our input, along with many other Apple vendors, developers, and designers was important to the product that was being created.

So, why go to the show? There was no way I’d stay away, particularly after Steve Jobs came back to the company. In 1996, Apple was on the verge of dying. Wired put out an issue (I still have it) of an Apple logo (the old multi-colored one) with a thorns around it and the title, “Pray!” The media had written Apple off. Many of my peers as well.

Steve Jobs knew the potential that existed within the company. He was extremely shrewd about it – and that’s something many people forget. And he recognized the evolution of our social environment from an analog world to a digital one. And so, every year, he would propel Apple forward, using MacWorld and special events to generate mystique, hype, and energy around a product line that had been given up for dead. Equally important, he made certain that the products offered worked. They had to work. And, after a bit, they were not only competitive again, they began to chew away and absorb big chuncks of the markets they were sold into.

Each MacWorld Expo was a chance to see Jobs speak, and many of us thought each speech would be the last one. After all, when he returned, he coined the “iCEO” term, meaning he was at that time the interim CEO. He wasn’t planning on staying. In those days, he used to end his presentations with, “oh, and one last thing…” and it would be the show’s bombshell. The big deal. I’ll never forget the 2000 Macworld, when he said, “oh, and one last thing… I like what I’m doing, so I’m going to stay.” There wasn’t a dry eye in the house. And all of this for the CEO of a computer company. By the way, his salary was $1 per year. That wasn’t his total compensation, but it was his salary.

Imagine taking that type of enthusiasm and energy and applying it to the auto industry. Does any automotive CEO have that panache? Perhaps Dieter Zetsche of Mercedes Benz, but only to the industry – his TV ads never really helped the company move forward, at least in the USA. And it’s a lesson we can all learn from. In these times, we all need to focus on what is possible. What can be done? What will people react to?

We use Macs because they help us get our work done faster, more efficiently, and with better collaboration. We also use PCs for various things, but not for our personal workstations. Hey, I use an iPhone instead of a Mac for a lot of things these days. But, I do enjoy the mystique of the Mac. I hope that sticks around for a bit.

Our team is very excited about a new project that we’re undertaking: A magazine-style documentary on a wonderful education program called Rock Our World. Created by elementary school teacher Carol Anne McGuire, Rock Our World links schools from around the world to collaborate on the creation of music using technologies from Apple Computer. Far from a sales program, Rock Our World has far-reaching effects on communication, collaboration, and the entire education process.

Students from Jamestown Elementary chat with students from Mexico City about their shared music project.

I first met Carol Anne shortly after she was awarded the title of Apple Distinguished Educator. At the time, most ADEs were college professors, so this was a big deal, not only for Carol Anne, but for Apple as well. We produced some short videos for the Apple Education Team and working with Carol Anne was a joy. She is filled with energy, as is her husband Bobby – and together, they could take on (it seems) any project and take it from a glint of an idea, to a polished success story.

The idea behind Rock Our World is simple: Children work together to create original music using personal computers. As an example, let’s say you have ten schools from countries like the United States, United Kingdom, Isreal, Germany, Australia, Japan, etc. Each school begins the project by recording a drum track into an application called GarageBand. The drum track can be recorded using live instruments or sampled sounds.

The recorded percussion tracks are then sent to the “next” school. There, the students add a bass line to the music – and pass it on. By the time the tracks have circled the globe a few times, a complete series of songs will have been created. Along the way, students can speak to each other using iChat, a video conferencing system integrated into the Mac OS. The ability for these schools to see one another, share music, and communicate as they do breaks some important barriers to learning. In today’s world, the need for cross-collaboration between countries, never mind cities, is becoming of increasing importance. Carol Anne and her team are pioneers in this regard. Their program is more than four years old already, while many schools and districts are still in the, “Wouldn’t it be nice if one day…” category. Not only is Carol Anne an Apple ADE, she is also a Google Educator, Disney Educator Award Winner, and the list goes on…

We’re in the pre-production stage now, and expect to have a completed project in time for the CUE conference in March of 2009. We’ll keep you posted! You can also follow Rock Our World via Twitter.