Vistitle Review

Vistitle Review Title
The first UK Vistitle Review for version 2.5

I’m massively impressed with my Edius system from DVC – head over heels in love with it to be more precise. It’s as steady and reliable as you can get and does 99% of what I want to do in a quick and logical way. However, the one thing that always fills me with envy is seeing some of the more sexy things other producers seem to be able to do, with ease, with their titles and graphic effects. Edius basic QuickTitler is just that, pretty basic.

Towards the end of last year I came to the conclusion that I really had to start getting my head around Adobe After Effects as it seemed to be the program of choice for the videographers whose work had inspired me. I’d flirted with it for many years previously, in various editions, but it simply wouldn’t stick in my head. Unless I’m using a program day-in day-out it doesn’t take long for me to have to re-learn basics in order to get results out in a reasonable amount of time.

Determined to get going with After Effects I signed up for the Adobe Creative Suite free month’s trial and set myself a challenge. If I could get to the stage of being able to quickly knock up attractive lower-thirds caption backs and animated title sequences within the free trial period I’d take out one of Adobe’s subscriptions. I failed miserably. After Effects simply doesn’t fit in my head – and I doubt I’m the only one to have come to this conclusion.

At that point I had accepted the fact that if I ever wanted anything more than I can currently do using Edius (and a bit of Photoshopping) I’d probably be hiring those services in. Either that or maybe it was time for me to start looking elsewhere.

My route to Vistitle 2.5

It was shortly after my final After Effects experience that David Clarke of DVC approached me about reviewing the latest edition of Vistitle (2.5). When I originally ordered my edit suite from them they’d bundled it up within the quote but it had been one of the cutbacks I had to make in order to get the system that I thought I wanted. Whilst I thought I knew what Vistitle was and how it might help me, I didn’t really fully appreciate how I’d grow to need and want it.

Even though Vistitle was very popular within the Edius community (integrating neatly with it from very early editions) at that time it all seemed a little too template driven to me – and the examples I’d seen produced with it left me a little cold. I really should have given it a go back then as I think I’ve been missing a real gem. What is it they say about hindsight?

With its close integration with Edius, Vistitle hasn’t really gained much take up outside of that community. That’s very understandable, especially in a marketplace where you have such a strong standalone product as After Effects and its complete integration with Premiere. But Vistitle 2.5 has changed all that as it now integrates neatly with Avid and Premiere too giving a really powerful alternative for many more PC-based editors looking for a little more than their NLE’s basic titling package can offer.

The full review pack sent to me by DVC included the five additional plug-ins and retails for around £250 inc. VAT. There’s upgrade paths too for those with earlier versions of the software plus you can also buy the plug-ins separately to keep your initial investment low.

What is Vistitle 2.5

In a nutshell, Vistitle is a PC-based title effects/animation software package. It enables users to quickly create complex, multi-layered 2D/3D animations of text and objects – applying textures, depth, glows, sparkles and lighting effects. It also enables you to quickly add dynamic graphic backgrounds for text and graphics, and with the optional plug-in packs provides particle effects, handwriting animations, 3D charts, converts 2D paths to 3D and there’s also a dedicated Karaoke plug-in should you need it.

Edius users will find the layout, menus and controls very familiar – mainly because it was specifically developed to address that NLE’s titling shortcomings. Whilst Avid and Premiere users might be daunted with this prospect I can only urge you to give it a go (there’s a watermarked demo you can download here). I’ve played with most NLE packages in my time and I think that Edius is, by far, the most intuitive and easiest to pick up. Vistitle follows that example.

The minimum spec for the PC is an Intel CPU with 3GHz processor or faster (Intel i5 or i7 is recommended). You’ll need a Direct3D 9.0c or later supported graphics card, at least 2GB of RAM (4GB if you are running Edius 7) and at least 4GB of storage space for the installation. You’ll also need a spare USB port to connect the USB dongle – and your system must first have either Edius, Avid or Premiere installed.

Vistitle utilises the graphics card to render in real-time – so the better card, processor and RAM you have the better performance you’ll achieve. But even with a minimum specification system you’ll be able to work at full HD and render out complex text and graphic animations – which it does comparatively quickly.

Vistitle Review - Animation Path
Vistitle Review – Animation Path

Learning Vistitle

YouTube is awash with free tutorials about After Effects, along with books and online resources aimed at beginners and advance users alike. That’s no surprise when you consider the size of the user base and the complexity of the program. Despite accessing many of these resources by the time I’d reached the end of my month’s trial I was still an After Effects stumbling fool.

Vistitle tutorials on the other hand are sparse – but thankfully most are well thought out and, mores the point, easy to follow. The program comes with the usual PDF user manual but, in addition, you also get a set of mute video tutorials covering most of the program’s features. DVC have also got an excellent collection of beginner tutorials on their website which is where I started and they got me up and running in no time. There’s also a range of more advanced tutorials on DivideByeZero’s YouTube channel which I’m presently working my way through – plus there’s a new set of paid-for tutorials at http://sgdvtutorials.com/ (which will be available through DVC) but I’ve not looked at these at all yet.

The end result for me was that by the end of the first day I’d got my head around basic navigation and controls of the program and had output a rudimentary title with an animation. By the end of a month of using it I’m far from being expert but I am at the stage where I’m choosing to use Vistitle more often that Edius’ own QuickTitle.

Vistitle Interface & Workflow

I understand that there are some differences to workflow between using Vistitle with other NLEs, so anything talked about here is purely relating to using it alongside Edius. Outside of your NLE you’ll be working within the main Vistitle interface, but once used inside your NLE you’ll be accessing it in a number of ways.

Vistitle Review - Lighting effect
Vistitle Review – Lighting effects

Adding a Vistitle is a simple as clicking on the ‘T’ (add title) button in Edius, which will launch you straight into the main interface. Once you’ve created a Vistitle, double-clicking it on your timeline will first take you into the Vistitle Mini interface. In here you can simply and easily adjust the text content of your title (the actual words, font, weight, kerning, layer ordering etc.) without the need to go into the full interface. That’s a smart feature and is great for quickly editing and adding captions of a similar design. For instance, once you have created the look and feel of your captions, added lighting effects and swirling backdrops, logos and particle effects, all you have to do to create another matching caption is to open the first in Vistitle Mini, change the text and then ‘save as’ with a different name.

Vistitle Review - Mini Vistitle
Vistitle Review – Mini Vistitle

If you want to change the Vistitle in more detail, such as amending the animation or altering light effects and colours, then you need to click on the button to take you to the full interface from within Vistitle Mini.

Whilst there’s definitely a link to Edius in Vistitle’s layout it is not going to seem too alien to an After Effects user. There’s a timeline, a preview window and a properties/control box for editing the currently-selected object.

The preview window is switchable between the main title graphic design and its effect view which includes the selected object’s animation path. Dividing the views up like this gives you a very uncluttered and easy-to-work-with view of your title and the objects within it.

The timeline area will also appear very familiar to NLE and effects package users with each object having an expandable view for controlling transformations, effects, in & out points and key frames. This window can also be switched to reveal a template library of graphic elements, backgrounds, sub-titles, multi-layered particle effects captions, 3D objects etc. – for you to easily and quickly add to your design and customise as you see fit.

For really quick application you can also call up a template design to drag and drop straight on to your Edius timeline. Once installed Vistitle will add an item to your ‘Tools’ menu in Edius, called ‘Edius Title Template Library’. The library consists of a variety of pre-constructed Layouts, Sub-titles, Images, Movies and DynaTextures.

Layouts include a vast range of lower-third captions, full-screen graphic designs with 3D objects and other demonstration templates which show off all the capabilities of Vistitle. Just drag one to your timeline, double-click to change the text content in Vistitle Mini – or completely change its properties within the full Vistitle interface and then save them. You can also import any previously designed Vistitle projects into this library for quick deployment.

Many of these templates are cheesy – but the point of them is they get you started quickly – and in opening them up and starting to tweak them to your own design is a great way to learn how to create your own Vistitles from scratch.

Vistitle Review - 3D caption templates
Vistitle Review – 3D caption templates

The Sub-title templates work in a similar way. These give you a range of single lines of text which you can add to your timeline as sub-titles – at timed intervals. Simply drag and drop the subtitle on to your Edius timeline, stretch it out over the video section that you want to sub-title, double-click and then start adding the titles line-by-line and place exactly over the right section of video.

The Image library contains both static images and static graphical elements – which again can be just dragged onto your timeline. You can also import your own TGA, PSD, BMP, JPG, GIF, EMF, WMF, TIF, PNG and ICO images to this library for easy deployment to your timeline.

The Movie library contains a handy set of animated icons and graphics in .VXMOVIE format. This includes spinning globes, explosions and other more obscure objects which can be dragged and dropped onto your timeline. Unfortunately you can’t import normal video files into this such as AVIs or MOVs – but why would you want to? However, if you have an animation created in another program, and can export that out as an image sequence, you can then import these into a separate utility program that comes with Vistitle called VxMvMaker. This gives you the option to output your image sequence in various video formats – including .VXMOVIE.

The final section in the library contains DynaTextures (Dynamic Textures). This wide selection of swirling masses of colours and shapes are ideal for creating backdrops for titles or video. You simply drag them on to your timeline and then stretch them out to the required time length and they automatically animate over that period. You can then of course alter the qualities of these within Edius’ own effects and image adjustments. I’ve used these plenty of times already.

Vistitle Review - Dynatextures
Vistitle Review – Dynatextures

My first Vistitle project

With my head pretty much around the program I set about creating my first Vistitle project from scratch. I’ve wanted to create a suitable video ident or credit for Video Artisan for a while now and it’s the kind of project that Vistitle was created for. News also came in around that time of my entry winning the IOV’s Video of the Month competition so I thought it would also give me an opportunity to shout about that too. The end result can be seen here…

I’m not saying the end result is an amazing, multi-layered marvel that demonstrates everything that Vistitle can do – but it works for me. It does however utilise lighting, animation and particle effects – and the very, very useful DynaTextures. The award wreath is a PNG file with transparent background and was imported as an image into Vistitle. After deselecting the ‘Always Use Image Colour as Face Colour’ option I was able to apply colour, lighting, texture and depth effects to these objects and easily time the glows to coincide with the passing of the 3D particle effect underneath.

Since then I’ve gone on to use Vistitle in a couple of real, paid-for, projects. The most recent is the short doc on the M&IT Agency Challenge which was filmed at the Landmark Hotel, London (https://vimeo.com/85261908). I’ve mentioned this project as it’s typical of how I’ll be using Vistitle going forward. The only Vistitles in this are the interviewee caption backs (the first comes in at 1’ 30”) which have a very subtle 3D particle effect in the background just to help the text stand out.

Final thoughts for this Vistitle Review

Whilst the additional plug-ins do add to the overall cost of ownership I think they are vitally important addition – if only for the ‘3D Particle Effects’. The ‘Handwriting’ plug-in is also really nice to have in your arsenal as one day you will be asked if you can do this. Not only can you use it to reveal text as if it’s being written on the screen but you can also do the same with objects and images. ‘3D Charts’ are also something that your clients will just expect you to be able to do, so again another useful tool to have in your box. I have to admit that I’ve not spent much time playing with the ‘2D path to 3D’ plug-in (enabling you to extrude 2D objects to 3D and add textures, light paths etc.), and I can’t imagine me ever using the ‘Karaoke’ plug-in but suspect there’s a market where this too would prove to be very handy.

Vistitle Review - 3D Particles
Vistitle Review – 3D Particles

I guess that it’s a good sign that I’ve not found much at all to moan about with Vistitle so far. The only thing that had me stumped for a while is that in the full interface, by default, the project layers are displayed back to front – with the top layer being at the bottom! However David at DVC pointed out that if you right-click in the timeline area and select, “track layer matched with object layer” it puts them the sensible way round.

Like all whiz-bang effects you have to learn to use title and graphics effects in moderation. They are never a substitute for good basic cameracraft, editing and storytelling. I would even go as far as saying that if you notice them then you’ve probably overdone them. You must also keep in mind that every minute spent creating a nice title and graphic is costing you or your client money. Even with its simplicity and ease of use, Vistitle will absorb a lot of time in designing, tweaking and rendering out graphics – all of which adds to the production’s budget. Therefore you’ll need to always ask yourself if the film really needs it and whether your client is prepared to pay for the work involved. My own Video Artisan credit piece took about a day to create including aborted designs and fiddling about with the animations and lighting effects.

The big question is, is Vistitle a direct replacement for After Effects? I guess the simple answer to that is “no” – but only because of After Effects’ many years of development and take-up within the creative industries. But for anyone who is starting from scratch or looking for a much simpler and more intuitive title effects package that you can get your head around in a much more reasonable amount of time, then Vistitle is a much better solution. With the introduction of version 2.5 and its integration with Avid and Premiere I can see the user base expanding quite rapidly – and with that I can see Vistitle being developed and improved even further.

Vistitle – a serious alternative to the obvious!

Kevin Cook F.Inst.V. (Hon.)

A big thanks to David Clarke at DVC for his help on this Vistitle Review. For more details on Vistitle visit the DVC website here –www.dvc.uk.com/acatalog/Vistitle.html

Filming a Team Building Event

Filming a Team Building Event
The story behind filming a team building event

2014 kicked off with us filming a team building event hosted by CAT Publications – namely the ‘M&IT Agency Challenge’ held at the Landmark Hotel in Central London. As publishers of Meetings & Incentives Travel Magazine, these events bring together buyers and sellers from within the corporate travel industry for a fun-packed day of activities and presentations.

This is the second time we’ve been engaged to film one of these tremendously successful events (see here). Through better engagement buyers get a clearer understanding of the range of services and destinations available to them – whilst suppliers are provided with the opportunity to build better relationships with new and existing clients. Going by the feedback from all attendees and the general atmosphere I think CAT Publications have got the mix of learning and fun in the right proportions – and it was great to be part of it.

More than just filming a team building event

Filming a team building event presents its own challenges, but in addition at these events we also supply video camera kits for the teams of delegates to use in one of the many challenges which they have to complete during the day. The video challenge this time was to create a 30-second commercial based on any one of the supplier presentations given on the day. If that wasn’t challenging enough, they only had 30-minutes in which to plan, script and shoot it!

Thankfully for them they didn’t have to edit it too. That was left to me and meant that I had to complete the edit on all six team videos only an hour or so after the last team finished filming so they could be judged and then screened later on in the evening during a gala dinner.

Whilst I was tucked away in a separate break-out room for much of the day either editing or briefing teams on how to use the cameras, my wingman for the day, Dilip Patel, was doing the ‘filming a team building event’ bit. This was far from filming entire coverage of each and every presentation and team challenge but rather gathering enough b-roll material so that I could cut together a 3-minute short documentary of the day.

Filming b-roll
Dilip filming b-roll

The narrative was achieved by filming an opening and closing piece with Martin Lewis, the Managing Editor of CAT Publications. Luckily Martin is a natural in front of camera and he also acted as interviewer at the end of the day to capture some of the feedback from delegates which helped us tell the whole story.

Video Challenges

The video challenges were staggered throughout the day, with either one or two teams doing this challenge at any one time. This started off with me giving them a very brief introduction to the cameras they’d be using. Once again we’d relied on Hireacamera to supply Canon XF105 cameras which were configured in full-auto mode to free up the teams from having to learn how to control focus, exposure and sound levels. Once they’d started creating their films I would then follow the teams to make sure they didn’t have any technical issues and, at the same time, capture of few shots of them creating their films to add to my b-roll. Thankfully these cameras are extremely easy to use in full-auto mode and didn’t present any problems for the teams who were working to an extremely tight deadline.

I’d installed my backup desktop Edius edit suite in my breakout room and, thankfully, none of the teams presented me with too much of an editing challenge – although not one of them managed to stick to the 30-second duration. This was one of the criteria the films were being judged on so no one managed to get an advantage in this respect.

Once the judging was completed I had to then get the files out in a format that the staging company could play out later that evening. There were one or two challenges with this but we got there in the end. The result was it created a fun opening to the gala dinner that evening where each team got to see their own film, and the other team’s, for the first time.

Kit used for the event documentary

Canon 5D DSLRs are great for filming a team building event but even they struggled under a range of challenging lighting conditions. In the main presentation area the staging company were using those wonderful blue LED lights to create a wash of light around the room – and this was coupled with natural daylight from windows and mix of tungsten and fluorescent house lights. No matter how hard you try it’s impossible to get a really accurate white balance under those conditions. During the evening events we had to work pretty much under candlelight alone. Other than that it was perfect!!!

Filming a Team Building Event lighting
Working with available light

Happy clients

Will we be filming a team building event for CAT Publications again? You bet! Plans are already underway for another one in the not too distant future. Like anything in life the more you do something the better you get at it. Whilst we managed to tick all the boxes for CAT Publications again this time we’ve got some ideas on how the video challenges can be improved further.

If you are thinking of running a team building event or corporate away day in the future and are looking for a fun and productive way in which to engage your delegates – and at the same time capture the event on film for future promotions – then please give us a call.

Winning the IOV’s Video of the Month – again!

VOTM Nipper Clipper
Guess who has won Video of the Month again?

This is the first time I’ve had a chance to share the news about winning the IOV’s ‘Video of the Month’ competition for December 2013.  This competition is run every month by the Institute of Videography and is open to its members who can submit any film, on any subject, from which the IOV’s Executive Committee select one as the winner.

Our winning entry for Video of the Month in December was a video diary produced for Stylfile on their amazing Nipper Clipper product which was having its first ever public exhibition at the Baby Show 2013 – Olympia.  See previous blog here. The video diary is presented by 2011 BBC Apprentice winner, Tom Pellereau – inventor of the Nipper Clipper (and other amazing nail care products) and business partner of Lord Sugar.

I’m especially pleased to win Video of the Month with a film created for Stylfile as they are firm believers in the value of commissioning a video and fully understand the important role it plays in search engine optimisation.  This video diary is featured on Stylfile’s YouTube channel (alongside other video films created for them by Video Artisan) which is central to their video marketing efforts.

Video of the Month x 3

This is the third time that Video Artisan has won VOTM since it was launched in 2013.  The two other winning entries are ‘Eiger Safety – Musical Short‘ and ‘Same-Sex Dance Festival‘.

This reminded me that I needed to produce a new credit sequence for Video Artisan – which proved to be a really good test for Vistitle which I’m in the middle of reviewing (to be published here soon!).  Nothing too overstated – but nice to be able to shout about winning an award or two (or five if you include 2nd place in the 2012 Best Doc category of the IOV Awards!)

Robertson and Co. Promotional and Training Films

It’s obviously getting busier here at Video Artisan as I’ve not found time to tell you about the completion of the promotional and training films I produced for Robertson and Co – the UK’s leading investigation and surveillance specialists.

This was one of those video production commissions with a long lead time.  My first meeting with them was early 2012 where we talked about the benefits and likely costs of producing both promotional and training films.  There were various internal reasons why it took nearly a year to get started but they kept me informed all along and were obviously keen to get the project under way.  Once we got the green light script writing commenced and both corporate and training films were completed in little over a month.

Shooting training films on location
Shooting training films on location

The need for both Promotional and Training Films

Robertson and Co provides a wide range of award-winning investigation, surveillance, claim validation, intelligence and fraud investigation services to a large number corporate clients, insurance companies and public sector bodies. Originally they wanted one film that would showcase their services and corporate values to potential clients – as well as demonstrating the level of expertise and commitment required by those wanting to be employed as Robertson and Co. agents.

The goal for the corporate audience was relatively straight forward – to set out the range of services offered by the company and to inspire new customers to use Robertson and Co. The training film’s goal was a little more subtle, in that it had to help reduce the costs of engaging agents by deterring those who would not be able to deliver the standards of service the company demands. Prior to the video, every year around 1,000 people enquired about becoming one of their agents – from which only around 10 ended up being employed by them for a period of 6-months or more.  Whilst most of these applicants failed to proceed to supplying CVs or progressed to an interview stage, this initial filtering was obviously costing the company a lot of time and resources.

Following our consultation they agreed that trying to produce one film to fit both purposes might have been possible but wouldn’t be as effective as producing two separate films. We were able to keep costs to an absolute minimum by using the same b-roll footage on both films – as well as gearing the interviews with key personnel in such a way that sections of them could be used in both versions.  This has resulted in the two films being not that dissimilar at first glance – but the emphasis on the narration is quite different.  Having said that, knowing that Robertson and Co.’s agents operate to a strict code of ethics and role specific training manuals will be something that potential clients want to hear.  Conversely, applicants watching the promotional film will understand the very important role they will play in delivering customer satisfaction.  This resulted in quite a few passages within each script having very similar wording but with a slightly different emphasis.

The Promotional Film

The promotional film is already being put to use – and will feature heavily on the company’s new website which is presently being developed.  The video is also being used as part of their general search engine optimisation efforts and is already creeping up the search results within Google and YouTube searches for their key words.

The Training Film

The training film is being presented to all of their current agents and will be shared with those enquiring after employment.  Whilst the initial thinking is to keep this for agent enquiries only and not to include it on their new website, this might change once it has been in restricted circulation for a period of time.

Thanks

A really big thanks goes out to my old school chums (Karen Clitheroe, Debbie Snook & Richard Haynes) and not forgetting my good wife (Tiffany) for playing the role of investigation and surveillance operatives/targets.

Eiger Safety promo video goes live

After a year in the making I was really pleased to get the Eiger Safety promo video signed off last Friday.

The making of this musical-short promo video

The brief for this promo video was very simple…. Create a 3-minute video, cut to music, that visually represents the range of services and products offered by Eiger Safety – which will be used as the opening audience-settler within sales presentations.  That sounds easy enough on paper – as does most other promo video briefs – but there were a couple of unusual challenges with this job.

Firstly, the very nature of Eiger Safety’s work would mean that I’d have to film pretty much wherever they work.  Whilst I’ve never knowingly suffered from vertigo I wasn’t absolutely sure how I would handle filming under these conditions.  I knew it would be safe, but it was clear I’d have to film over the edge of some pretty impressive buildings and structures.

Working on the edge for a promo video
Working on the edge for a promo video – walking the chains at Clifton

The second challenge was picking the right locations and activities that would accurately convey what Eiger Safety do.  Whilst some of their work involves regular testing and certification of height-safety systems (such as window cleaning eye bolts, latchways, roof hand & guard rails and abseiling points), the really impressive stuff is usually one-off installations and annual inspections.  This meant we were never going to be able to shoot this in one hit but rather spread the filming out to capture a typical year of Eiger Safety’s work.

Costing the Promo Video

Whilst we had a plan of around six sites and projects that Eiger Safety MD, Paul Jaffe, wanted to include he also knew there would be other projects that would come up over the year that he would just have to have captured on film.  However, by the time we had it in the can we’d covered fourteen different locations, some of which were visited more than once.

Corporate and business-based films are never easy to cost but this one was almost impossible to give an accurate total cost from day one.  To overcome this we agreed a daily filming rate along with an understanding that each filming day would increase post production time too.  We also agreed a significant initial payment with interim invoices to be issued when needed. This worked for both of us – giving him control over the budget and keeping me in pocket whilst the project progressed.

Filming at locations all over the UK
Filming at locations all over the UK – The Eden Project

Location, location, location
One thing I have learnt over the past year is that Eiger Safety get to see things from a very different point of view – literally. There are very few people who have access to the parts on buildings that they have to access in order to do the things they do. Sometimes they are working in places that have not been accessed for many years – sometimes since the building or structure was first constructed.

Whilst we are all at the mercy of the weather, when it came to filming this project we was more reliant on good conditions than others. There were some locations where we were prohibited to work if there was strong winds or icy conditions atop the structure.  The wind conditions are especially important and as we all know these can change quite rapidly and are almost impossible to predict.  This did result in a couple of abandoned filming days – in particular the footage shot on the Clifton Suspension Bridge.  When we did actually get to film there we had a brilliant couple of days but still had to constantly check wind speeds to make sure we were operating within the bridge authority’s regulations.

Whilst Clifton Suspension Bridge was certainly the most dramatic location, some of the most spectacular views for me were those that the guys at Eiger Safety get to see almost every day.  As the regular rope access company for many of London’s top hotels, office developments and structures, they get a view of our capital city like nobody else. There were some locations where I could have spent a whole lot more time just taking it all in.

Filming over the edge at the Dorchester Hotel
Filming over the edge at the Dorchester Hotel

Feet back on solid ground

With the short musical promo video now complete I’ll be turning my attention to a longer-form documentary version based around a studio interview I’ve filmed with Paul that will give the viewer a much better understanding of what they do and the requirements of those working on rope access.  This wasn’t part of the original brief but I think it’s a story that needs to be told and maybe of interest to a much wider audience.  I hope to get this out there in the next month.

But this is definitely not the end of my video work with Paul and the guys at Eiger Safety.  There will be other must-have projects they’ll need filming in the coming years – and I’m also certain they’ll want alternate-edit versions of the video to match the needs of prospective clients.   I’m also helping them to set up a new website with a blog and vlog to capture and share the more unusual views they experience.  I’m sure this will be something that will get a good social network following from those interested in views from height.

So…. not the end – not even the beginning of the end – but perhaps the end of the beginning of my work for Eiger Safety.  A big thanks to Paul and his main men, Illya (L) and Nasco (R), for putting up with me and my numerous retakes!  Thanks chaps – it’s been a privilege working with you.

Eiger Safety
Eiger Safety – Height safety systems & services that protect lives