When Park City TV hired me to direct the Uncle Uncanny music festival 2011, I was thrilled. I expected it would further my career and potentially lead to bigger things. I had access to the best cameras and equipment I’d ever used.
Covering the 3 day event would be an endurance contest. I stayed awake for the duration, taking brief power naps in the quietest spots I could find. They had 50 bands playing on three different stages. I had to go with my gut, and capture as much as I could. I had two other videographers helping me in shifts. They’d come and go, and if they weren’t around, Jenny would fill in. Fortunately, I had dedicated sound engineers working around the clock at their mixing boards, getting the best audio mix possible.
I got nervous standing on that huge stage with the first band, Triggers & Slips. But, my days of shooting indie bands in downtown Salt Lake City saved me. I just needed to block out the volume of people and the stakes. I quickly learned the strengths and weaknesses of the camera, and how the lens handled light. By the time we recorded the second band, Holy Water Buffalo, I hit my stride.
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On the following morning, I couldn’t find anyone awake to run the second camera for ‘Max Pain & The Groovies’. During their soundcheck, we came up with the plan to shoot the song in one fluid camera movement, as I weaved my way around them in circles (without tripping over cables or getting hit with an instrument).
While my equipment charged, I’d wander through the crowds, listening for music that caught my ear. I’d get extra clips with my canon, of the people camping out and being creative. The second night had strong winds. It wasn’t easy to deal with, but it added a lot to the visuals. We stopped during patches of rain, to protect the gear.
My friend DJ Anthony Motto was in the lineup. It felt great to see a familiar face. I’d done promo material for him in the past, in SLC clubs, and he invited me into his home. We had inspiring conversations. I was honored to be using the resources I had to capture his set. He utilized the ‘silent rave’ technique, where every participant had wireless headphone receivers that he transmitted the music to. I experimented with the editing for this sequence, muting the audio in and out, then slowly bleeding it through until it explodes, evolving into a montage of scenes from the whole festival.
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I thought I’d have support from the studio head that hired me, to navigate the situation. But, he was more interested in getting high and making lewd comments about wanting to have sex with my wife. A world class piece of shit. During the moments he did make an appearance, I kept my distance. He made my skin crawl.
You may think that if you get a job with a big network or production company, you’ll suddenly be surrounded by talented professionals serious about their craft. You’d be lying to yourself. If they’re in the business and have nothing to say – then it’s about status and money. The people in the industry I have met, who made a name for themselves with the least amount of tools, are the good ones.
I spent hundreds of hours going through footage, putting together a rough cut of the documentary. I was confident with what I’d accomplished. I handed it over to the station. They didn’t air a single second of it. Not one clip.
To say that pissed me off was an understatement. The bands deserved exposure. And, yeah – I felt I’d earned some recognition too. So, I walked into the studio at a time of day I knew few people would be around. I backed up the footage onto a hard drive and left. Fuck them. I’d release it myself.
And now I have, restored to the best of my ability. Crank it up.
On November 28th, 2022, Park City TV ceased operations.
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I could use some audience participation at this point, because my notes to credit the musicians have been lost. If you have any names, besides the ones I mentioned, let me know.