Creating A Trade Show Video For A Local Bozeman Business

In early November, Bonafide Film House a Bozeman Video Production Company was contacted by the head of marketing for the Belgrade location of Service Partners Supply. They were interested in having a Bozeman video production company produce them a 3-5 minute long video showcasing the complete construction of one of their spray foam insulation trucks. This location specializes in the manufacturing of highly specialized commercial spray foam insulation trucks. Operating now for close to ten years and producing at least one truck a week, their products are some of the best in the country and in extremely high demand. Located near the Yellowstone International Airport in Belgrade Montana with a gorgeous view of the Bridger Mountains, the Bonafide Film House crew knew they were in for a fun project.


During our initial consultation with them, Justin Kietzman and Anthony Cohen spoke with the owner and head of marketing for a couple of hours, getting a very solid handle on what the companies vision was for their video. It was to be playing on a very large television mounted to the side of one of their demo trailers at the Palm Springs SPFA (Spray Polyurethane Foam Alliance) yearly trade show. They had a laundry list of what they knew what they wanted included in the trade show video, but as a small business video production company, we knew that we needed a little more information; Information that can be a bit harder to put into words if you are not in the creative video production industry. After a bit more discussion, watching some examples on the iPad and discussing some previous work we had done for some other Bozeman small businesses, we knew exactly what kind of trade show video we would create for them. Shooting was planned to begin the following Monday.



The next step for Bonafide Film House was simple: Pre Visualization.

If there is one constant in this universe, it is that planning is everything. A lot of people have the misconception that in order to do business video production you just show up with a camera and record everything you see, but unfortunately this is not the case. Even the most natural feeling videos you see are planned ahead of time. Nothing ever happens how you want it to, this is true in every day life and it’s extra true in video production. The only way to combat the entropy of the universe in film and video production is simple: Pre Visualization. Justin Kietzman and Anthony Cohen sat down with notebooks and inspiration material; the Pre-Vis began. Discussing exactly what they wanted to shoot, the main shots were written down. Once the list of all of the important shots were collected, a general storyboard was developed. We started to develop a general order for how we wanted the video to flow. We made sure that our storyboard included all of the main processes involved in making a truck and also showed off all of the very very cool stuff involved in building a custom rig. At this point, we had a pretty good idea for the direction of this Montana corporate video. Experience as a Bozeman video production company told us that just having a storyboard wasn’t enough to create a corporate video of this size.


Next we created a script. We knew what story Service Partners Supply was trying to tell with this business video, so we created a multi page set of questions we would use, to have the head manager answer during a sit down style interview. In essence we created an anti-script. We formed the questions so his answers would seem like statements, making the video flow very naturally and make the viewer easily understand the message of this corporate business video. Even the most competent business owner, that knows everything about his field, can have a hard time sitting down in front of a camera and quoting lines, so making your making your script in the form of questions can save everyone a lot of time and create a much more competent business video.  Once we had all of this prepared, we sent the questions to the business owner so he could become more comfortable with the questions and prepare his answers. At this point we were ready to begin filming on Monday.


Anthony Cohen setting up a Camera on a Dolly

Early Monday morning rolled around and the Bonafide Film House crew was ready to rock and roll. Upon arrival the first thing we did was check the two GoPro time-lapse cameras we had set up early the night before to capture the removal and installation of the framing and interior insulation. They were still running on track for their five day long time-lapse of the build of the entire truck. At this point, we pulled the production van up to the warehouse and began to unload all of our equipment.
Lighting is the most important aspect of filmmaking, commercial or not. So one of the first things Justin Kietzman does when he shows up on a new location is he gets out his Sekonic Lightmeter in order to figure out the lighting conditions and decide what lights the crew will decide to use for each individual room. Interviews typically call for soft boxes on multi-bulb interview lights, very close to the subject. Slow motion shots calls for extremely bright single point spot lights on a single static subject, in order to provide enough light for the extremely high shutter speed. All of this comes into play on a professional commercial film set and it arguable the most important aspect of any filmmaking project.
Justin decided for this particular project we would need our 2000 watt interview light set which we commonly used for Bozeman Video Production projects and Commercial video production jobs and our ten 200 watt LED can lights. All of these lights were originally various color temperatures, so Justin Kietzman gelled them all to 4000 Kelvin, the same temperature as the overhead lights inside of the building. Making sure none of the lit subjects looked blue or yellow, a very common in lower budget video production products.

Over the next couple of days, filming moved forward at a steady pace. Justin Kietzman and Anthony Cohen would show up at set times for a few hours each day, covering major points of the build  and ensuring that the three time lapse cameras were running and not missing a moment. This arrangement saved the client quite a bit of money in the end, everything was still covered fulling but with many less hours of filming involved.
The final day of this Bozeman Video Production project was the longest. Justin Kietzman and Anthony Cohen showed up at 6am as the shop opened and stayed until 8pm that evening. Filming the pre planned interview with the manager of Service Partners Supply as well as filming the walk and talk portions with him as well. For these shots we used a very simple dolly, that was perfectly capable for a smooth concrete floor like in the warehouse of this Montana Video Production shoot. This same day all of the slow motion was also filmed, these were highly staged shots with almost all of the lights being used, ensuring we had enough exposure, keeping the image free of noise. These sorts of shots are where the production value really shows up, making any commercial video production look like a extremely high budget commercial production.

After 8 days, the shooting was finished. The footage was taken back to Bonafide Film House headquarter and edited into the final product and delivered less than two weeks later, you can view it here:
If you are interested in having Justin Kietzman and Anthony Cohen at Bonafide Film House a Bozeman Video Production company create you a cinematic professional commercial video for your Montana business, please get in touch with us.

By Justin Kietzman


Director and Editor at Bonafide Film House


Thinking of making your own videos? Here’s why you should hire professionals for video production services instead.

Thinking of making your own videos?
Here’s why would should hire professionals for video production services instead.

If you are thinking of making a video for a project you are working on or need a demo for a product you are developing, you may be weighing the options of whether or not you should personally handle the video production or hire a professional videographer to handle the job. Here are some of the key reasons you should hire a professional:


This could be the largest pro of having your videography services handled professionally. You know the value of your time better than anyone else. When you work with professional videographers they offer a faster turnaround for your projects. If you choose to create the video yourself, it will eat up your valuable limited time. Even the shortest video can consume hundreds of hours of your time and may end up delaying other items on your to-do list. When you work with a professional, you can be assured that your time is being used efficiently and effectively.


Professional videographers will have much more experience creating high quality looking and sounding videos. Combining their skill in this craft with professional equipment, you will end up with a much higher quality final product. Many amateur and novice videographers are not aware of some of the finer intricacies that result in a higher quality video; from recording your video on a external video recorder, resulting in a higher fidelity video file with a much higher bitrate than one shot in camera, to proper microphone placement which can reduce room noise, giving you a very professional sounding video. However, when you work with a professional team such as Bonafide Film House, it is possible for you to get a refreshingly crisp video, with extreme clarity and pointed editing.


At face value, video production seems like it can be a very affordable way to create marketing material for your company. Many cameras these days seem like affordable options. Picking up a entry level camcorder or DSLR at your local big box store may seem like a good idea, but in the long run this is not the best option. Without appropriate professional lights, microphones, audio recorders, lenses and pro level tripods, your videos most likely will not result in the quality you are used to seeing from top brands. A proper kit for video production in the end, will cost tens of thousands of dollars and you will still be left without the knowhow for using it properly. Hiring professionals can solve all of these problems and save you all of the stress of having to deal with something you are unfamiliar with in the first place.

If you are interested in having Bonafide Film House work with you to create a professional video, in a timely manner, please don’t hesitate to give us a call or send us an email.

Thank You.

By Justin Kietzman


Director and Editor at Bonafide Film House
Published September, 17 2016

How Digital Video Compression Works

How Digital Video Compression Works

H.264 is a video compression codec standard. It is overwhelmingly used for internet video, phones, Blu-ray movies, security cameras, drone, pretty much everything. It is the final delivery codec that Bonafide Film House uses as well.

H.264 is a impressive piece of technology. It is the result of 30+ years of work with one single goal in mind: To reduce the bandwidth required for full motion video transmission.

It is the result of 30+ years of work with one single goal in mind: To reduce the bandwidth required for full motion video transmission.

The purpose of this post is to give you insight into some of the higher level details of how it works, I will try to not bore you too much.

Why would we want to compress anything in the first place?

A simple uncompressed video is huge. While editing I export pre-rendered videos in Apple ProRes 4.2.2, a 30 minute video is typically 30 gigabytes, that is far too large to deliver to a client. A simple uncompressed video (even larger than the Apple ProRes files I work with) file will contain an array of 2D buffers containing pixel data for each frame. So it’s a 3D (2 spatial dimensions and 1 temporal) array of bytes. Each pixel takes 3 bytes to store – one byte each for the three primary colors (red, green and blue). So a 1080p video at 60 frames a second comes to 370 Megabytes of raw data every second.

This is next to impossible to deal with. A 50GB Blu-ray day would only hold about 2 minutes of video, that’s not going to work.

Shedding Weight

Imagine you’re building a car for racing. You obviously want to go fast, so what is the first thing you do? You shed some weight. Say your car weights 3000 pounds; You throw away stuff you don’t need. The carpets? Gone. That radio? Get it out of here. Heater? Sure don’t need that. Engine? Probably should keep that. You remove everything except the things that matter.

The idea of throwing away bits you don’t need to save space is called lossy compression. H.264 is a lossy codec – it throw away less important information and only keeps the important bits.

Important stuff? How does H.264 know what’s important?

There are a few obvious ways to reduce the size of images. Maybe the top right of the frame is useless all the time. So maybe we can zero out those pixels and discard that area. At this point we would only be using 3/4th of the space we need. Or maybe we can crop out a thick border around the edges of the frame, the important stuff is happening in the middle of the frame anyways. Yes you could do this as well, but this isn’t how H.264 works.

What does H.264 actually do?

H.264, like other lossy image algorithms discards detail information.


Compare these two images. See how the compressed one does not show the holes in the speaker grills of the MacBook Pro? If you don’t zoom in you probably wouldn’t even know the difference. The image on the right weighs 7% of the original, that is a huge difference already and we haven’t even started.

7%? How did you pull that off?

Information Entropy

If you paid attention in your information theory class, you might vaguely remember information entropy. Information entropy is the number of bits required to represent some information that it is not simply the size of some dataset. It is minimum number of bits that must be used to represent all the information contained in a dataset. For example,. if your dataset is the result of a single coin toss, you need 1 bit of entropy. If you have to record two coin tosses, you’ll need 2 bits. Make sense?

Well there you go, you’ve just compressed a large dataset.

Suppose you have a coin, you’ve tossed it 10 times and every time it lands on heads. How would you describe this dataset to someone? You wouldn’t says “HEADS HEADS HEADS HEADS HEADS HEADS HEADS HEADS HEADS HEADS”. You would just says “10 tosses all heads” – Well there you go, you’ve just compressed a large dataset. This is obviously a oversimplification, but you’ve transformed some data into another shorter representation of the same information. You’ve reduced data redundancy. The information of this dataset has not changed. This type of encoder is called a entropy encoder – it’s a general purpose lossless encoder that works for any type of data.

Frequency Domain

Now that you understand information entropy, let’s move on to transmissions of data. There are some fundamental units that are used to represent data. If you use binary, you have 0 and 1. If you used hex, you have 16 characters. You can easily transform between the two systems. They are essentially equivalent.

Now imagine you can transform any dataset that varies over space – something like the brightness value of an image, into a different coordinate space. So instead of x-y coordinates, let’s say we have frequency coordinates. Frequency X and Frequency Y are the axes now. This is called a frequency domain representation. There is another mathematical theorem that states you can do this for any data and you can achieve a perfect lossless transformation as long as Frequency X and Frequency Y are high enough.

What is Frequency X and Frequency Y?

Frequency X and Frequency Y are another kind of base unit. Just like when we switch from binary to hexcode, we have different fundamental units, we’re switching from the familiar X-Y to Frequency X and Frequency Y. Here is what our image looks like in the frequency domain.


The fine grill of the MacBook Pro has a higher information content in the higher frequency components of that image. Finely varying content + high frequency components. Any sort of gradual variation in the color and brightness, such as gradients are low frequency components of that image. Anything in between falls in between. So fine details equals high frequency and gentle gradients equals low frequency.

In the frequency domain representation, the low frequency components are near the center of the image. The higher frequency components are toward the edge of the image.

Why do all this?

Because now, you can take that image containing all of the frequency domain information and then mask out the edge and discard information which will contain information with high frequency components. Now if you convert back to your regular x-y coordinates, you’ll find that the resulting image looks similar to the original but has lost some of the fine details. But now, the image only occupies a fraction of the space. By controlling how big your mask is, you can now tune precisely how detailed you want your output images to be.


The numbers represent the information entropy of that image as a fraction of the original. Even at 2%, you don’t notice the difference at this zoom level. 2%! Your race car now weights 60 pounds!

So that’s how you shed weight. This process in lossy compression is called quantization.

Chroma Subsampling

The human eye and brain system is not very good at resolving finer details in color. It can detect minor variations in brightness very easily, but not color. So there must be some way to discard color information to shed even more weight.

In a TV signal, RGB (red, green, blue) color information gets transformed to Y+Cb+Cr. The Y is the luminance (essentially black darkness and white brightness) and the Cb and Cr are the chrominance (color) components. RGB and YCbCr are equivalent in terms of information entropy.

Why complicate matters? Why not use RGB?

Back before we had color television, we only had the Y signal, and when color TV’s started coming along, engineers had to figure out a way to transmit RGB color along with Y. Instead of using two separate data streams, they decided to encode the color information into Cb and Cr and transmit that along with the Y information. That way, Black and White televisions look at the chrominance components and convert to RGB internally. But here’s the trick: the Y component gets encoded at full resolution. The C components only at a quarter resolution, because the eye and brain is terrible at detecting color variations, you can get away with this. By doing this, you reduce total bandwidth by one half, with very little visual difference. So we’ve reduced the data by half! Your race car now weights 60 pounds.

This process of discarding some of the color information is called Chroma Subsampling. While not specific to H.264 and has been around for decades itself, it is used almost universally.

Those are the big weight shedders for lossy compression. Our frames now tiny – since we discarded most of the detail information and half of the color information.

Can we take this even further?

Yes, in fact we can. Weight shedding is only the first step. So far we’re only looking at the spatial domains within a single frame. Now it’s time to explore temporal compression – where we look at a group of frames across time.

Motion Compensation

H.264 is a motion compensation compression standard.

Imagine you’re watching a tennis match. The camera is fixed on a certain angle. The only thing moving is the ball back and forth. How would you encode this information? The same method using a 3D array of pixels, two dimensional in space and one in time?

No. Most of the image is the same. The court, the net, the crowds are all static. The only thing moving is the ball. What if you could just have one static image of everything on the background and then one moving image of just the ball. That would save lots of space.

This is exactly what H.264 does. It splits up the image into macro-blocks

This is exactly what H.264 does. It splits up the image into macro-blocks – typically 16×16 blocks that it will use for motion estimation. It encodes one static image – typically called an Intra Frame. This is a full frame containing all the bits it required to construct the frame. And then subsequent frames are either P-frames (predicted) or B-frames (bi-directionally predicted. P-frames are frames that will encode a motion vector for each of the macro blocks from the previous frame. So a P-frame has to be constructed by the decoder based on previous frames. It starts with the last I-frame in the video stream and then walks through every subsequent frame – adding up the motion vector deltas as it goes along until it arrives at the current frame.

B-frames are even more interesting, where the prediction happens bi-directionally, both from past frames and from future frames.Since you’re only encoding motion vectors deltas, this technique is extremely efficient for any video with motion. Now we’ve covered both spatial and temporal compression! So far we had a ton of space saved in Quantization. Chroma subsampling further halved the space required. On top of that we have motion compensation that stores only 3 frames for the 300 we had in that video.

Looks pretty good, now what?

We use a tradition lossless entropy encode to finish it off.

Entropy Encoder

The I-frames, after the lossy steps, contain redundant information. The motion vectors for each of the macro blocks in the P and B-frames – there are entire groups of them with the same values – since serveral macro blocks move by the same amount when the image pans in our video test.

An entropy encoder will take care of the redundancy. And since it is a general purpose lossless encoder, we don’t have to worry about what tradeoffs it’s making. We can recover all the data that goes in.

And we’re done! At the core of it, this is how H.264 works. These are it’s tricks.

I am massively oversimplifying several decades of intense research in this field. If you want to know more, the Wikipedia Page is pretty descriptive.

By Justin Kietzman


Director and Editor at Bonafide Film House
Published September, 1 2016


Two Days at Sky Ridge Ranch: Creating Kristie and Jordan Browns Wedding Video

View Our Wedding Packages

Two Days at Sky Ridge Ranch: Creating Kristie and Jordan Browns Wedding Video

A long time ago, on April 2nd 2016, the Bonafide Film House crew sat in Wild Joe’s Coffee in downtown Bozeman Montana and met Kristie Smith and Jordan Brown. In the small private back room of this popular coffee shop, the group of us sat and excitedly discussed how we were going to produce her wedding video at the beautiful Sky Ridge Ranch near Ronan Montana later that year. As Anthony took notes in his moleskin, the plan for the wedding days started to come together. For a fly on the wall it would have been difficult to differentiate these five people meeting enthusiastically to plan a Montana wedding video from a group of old friends discussing a screenplay for a love story.

We really enjoyed that day, after the meeting we headed towards the Bridger Mountains, stopping at the small park near Drinking Horse Mountain to film their engagement video. With the gorgeous spring weather, blue skies and green grass, we were able to film a short piece for them that we knew would turn out great. They discussed how they met, what bonds them together and how excited they were about their marriage. After a lovely day, we parted ways, knowing that we would be seeing each other again very soon, to film their wedding day.

84 days later we were lucky enough to be watching her walk down the aisle. All of their lovely family had traveled out from across the country and they had many guests that had traveled the world to arrive at this beautiful wedding.

84 days later we were lucky enough to be watching her walk down the aisle.

Sky Ridge Ranch is a extremely beautiful wedding venue, just south of Flathead Lake, nestled in a gorgeous valley. We chose to take as much advantage of this as we could for Kristie’s wedding video, so we put the drone up multiple times over the course of the two days we were there filming. Knowing how the sensor prefers light on the drone, Justin decided to perform some low altitude aerial maneuvers during more hard light, closer to the water, during afternoon sun. Typically not the best time for filming, causing harsher shadows and brighter highlights, but this time it worked out well. As the editor of Bonafide Film House’s wedding videos, Justin also wanted to get a grand closing shot. So after putting in the last battery for the DJI quadcopter, he decided to take a risky move and remove the filter from the front of the drones camera, hoping it would give some nice lens flares as the drone flew over the venue at sunset. As he sat on top of a dirt mound from a couple of miles away, he saw through the remote that the shot had indeed worked out and was worth all of the risk in the end.

The Bonafide Film House crew had a absolute blast filming this wedding video for Jordan & Kristie and we wish them the very best in life.

Vendors we were lucky enough to work with on this project:

Venue: Sky Ridge Ranch

Photographer: Cluney Photo

Florist: Habitat Floral Studio

Bakery: Black Cat Bake Shop

If you would like Bonafide Film House to create you a gorgeous wedding video, please take a look at our wedding film page.

Creating A Montana Wedding Video: Andy & Megan Young at Holland Lake Lodge

Creating A Montana Wedding Video: Andy & Megan Young at Holland Lake Lodge

As a Montana wedding videographer you never know what kind of weather you’re going to experience, snow storms in July, hurricane strength winds and 50 degree temperature weather changes in less than ten minutes are not unheard of.

That being said the threat of rain couldn’t dampen the spirits of Andy and Megan on their wedding day. They both made it very clear that no matter what the weather did they were getting married. Lucky for them the weather cooperated and we were able to capture the beauty of this stunning couple on their special day. From start to finish we were constantly impressed by this couple and their loved ones. The intimate family-like vibe lended itself to capturing some amazing moments from the bride and groom sailing off in their own just married canoe to the touching and hilarious congratulations on there video booth this is one wedding we will not soon forget.

We instantly knew the day would be a good one

Arriving early at Holland Lake Lodge just south of Kalispell near Flathead lake, we were excited to be greeted by Carrie-Ann Doyle, maybe the most renowned wedding photographer in Montana. Having seen her work many times before, we instantly knew the day would be a good one. She told us that she had worked with a few Montana wedding videographer’s before, but few had set out to achieve the cinematic wedding video style that we produce, so she was excited to see our work.

One of our favorite ways to work as wedding videographers is to film at a similar focal length to the wedding photographer. This produces better results all around for the client. We can compose beautiful scenes, working with the photographer, bouncing ideas around and having a seamless working environment with the bride and groom. This was very true for Megan & Andy’s wedding.

While Justin was setting up establishing time-lapses and capturing aerial video of Holland Lake and Holland Lake Lodge using the drone, Anthony was working with Carrie-Ann, filming the bride getting ready all morning. As the day progressed on, the teams worked together to choreograph how the ceremony would be filmed.

At a moments notice about an hour before the ceremony was supposed to happen, the wedding planner from Holland Lake Lodge announced the ceremony was happening immediately, due to the weather clearing and the rain stopping. Luckily the Bonafide Film House wedding video crew had planned for this, by having cameras planted and lav mic’s on the groom ahead of time.

The rest of the day was a breeze

After a beautiful ceremony, the weather completely cleared up and the rest of the day was a breeze. The guests got to unwind and the bride and groom had a beautiful wedding.

Later that week, the Bonafide Film House wedding video crew edited together a gorgeous organic wedding video, that received wide complements abound. We had a absolute blast making Megan & Andy’s beautiful wedding video and we hope they have wonderful lives together.

If you are interested in having Bonafide Film House create a gorgeous wedding video for you, please feel free to take a look at our wedding packages on our Montana Wedding Videography page.

We were lucky enough to work with these amazing vendors:

Carrie Ann Photography

Holland Lake Lodge 

Riverhaus Productions

Part 1: What I learned from starting a Youtube channel using nothing but GoPros. by Justin Kietzman


As anyone involved in video production knows, it is very easy to get caught up in the gear. You often put off projects, or don’t even considering certain shots, based solely on the fact that I don’t have the right filter with me or my lens isn’t fast enough to get that shot. From a professional standpoint these thoughts are often totally valid, but that’s what’s funny about youtube, these things are never valid. The youtube audience does not care about picture, they care only about content.

But first, a bit of backstory.

Over the summer of 2015, after returning to work from a reconstructive knee surgery, I was spending most of my time hiking, or doing laps around the Gallatin Valley on my road bike trying to get my strength back. After a few months of this I started to get very bored of the repetitiveness of seeing the same tour busses heading to West Yellowstone as I would pass Gooch Hill, or seeing the same backs of trail runners as they passed me while I headed up Sourdough Canyon Trail.

Noticing my frustration and boredom, one day a co-worker offered to take me fishing, as he knew I loved salt water fishing.

Hailing from central North Carolina, the only fishing we had was for crappies, which isn’t the most exciting and bass fishing, which is absurdly hard for a kid fishing in a lake that is regularly used for national bass competitions. So some of the best memories I have as a kid were the times we went deep sea fishing off the coast of Myrtle Beach or Charlestone, SC. When you go out 75 miles in a fishing boat, with a captain that has been doing it for 30 years, you catch an absolutely insane amount of fish.

During my knee surgery I spent a lot of time rigging my open top kayak and going pier and surf fishing with my father. I spent a lot of time also watching Robert Field youtube videos, seeing how he handled the larger fish in his kayak. All the while, really taking in how he filmed his shows.

All of this came back really quickly the first time I fished in Montana. The fish here are hungry. Before, when I thought of fresh water fishing, I envisioned sitting on a boat, in the middle of a still lake, in 98 degree, 95% humidity, not catching anything all day. But now, I think about that first time I stood in the middle of the Madison, watching with snipers eyes as I would see 14 inch rainbow peek out from behind his rock, deciding to chase my lure and running off as they would see my standing there while I reeled in my size 2 mepps as fast as I could. It was exilerating. Having been involved in a FPV (first person view) action sports youtube channel the year prior, I had a feeling this was something people wanted to see, through the eyes of the fisherman.

That’s when Intense Fish was born. It was the simplest of plans, using them simplest of gear, doing the simplest of sports, fishing.

I will get into the technicals of how I made IntenseFish and Bonafide Fishing next week.

Stay Tuned.


-Justin Kietzman