Inside Sportfishing Television Featured On Audio Video Multimedia Producer.com Telly and ACE award-winning producer Michael Fowlkes discusses his tools of the trade
By James Virata

According to the American Sportfishing Association, there are more than 44 million recreational anglers in the United States. These anglers contribute to a $116 billion economy that is primed by the love of angling. With that comes the affinity to all things fishing related, from clothing and tackle, to fishing vacations, children's fishing derbies, and cable shows that highlight the sport. People love to fish. At the recently concluded Fred Hall Fishing Show in Long Beach, California, anglers were out in force checking out the latest tackle technology, soaking up tips and techniques from professional anglers, to purchasing the latest fishing DVDs .

There are many personalities who document the fishing experience on TV. Bill Dance and Jimmy Houston pretty much have the largemouth bass cable shows sewn up, and Big Island local Mike Sakamoto (The Outdoor Channel's Fishing Tales), who sold his Hawaii-based show a few years ago to the Outdoor Channel, all have entertained anglers on TV for years. However, there is one guy who has consistently delivered some of the most awe-inspiring footage every year to a national audience; Michael Fowlkes, executive producer of Fox Sports' Inside Sportfishing. Winner of 14 Telly awards, Inside Sportfishing brings its viewers to the most exotic locales on the planet to fish for some of the gamest fish. Marlin, Giant Sturgeon, and Bluefin tuna have all been guests on Fowlkes half hour programs for the last 15 years. That is approximately 26 half hour programs each year for the last 15 years. Not bad for a guy from Newport Beach, California who stumbled onto a course in filmmaking at Orange Coast College in Costa Mesa, California.

Fowlkes took an interest in filmmaking after taking a nine week course on 8mm film editing at the Orange Coast College film school. After the exposure to the world of film at Orange Coast College, Fowlkes knew what his calling was.

"The first day I walked into the studio, my legs literally collapsed under me. I knew that very instant, looking at the big theater screen in the front of the studio, that's what I wanted to do with my life. . . put images up there. Turned out to be a 30" screen, but nonetheless, I thank God I get to do what it is I do everyday," Fowlkes said. "Needless to say filmmaking became my major. Only problem is that show is the small word, and business is the big word. You have to understand business in order to play in show business. Without the financial base, creativity doesn't stand a chance. Fifty percent of my time and efforts go into sponsorships and taking care of my clients. Without them, I'd be on the street. Programming is only a wrap-a-round for commercials."

To get a glimpse into Fowlkes' digital endeavors, DMN senior editor John Virata spoke briefly with Fowlkes (who also won three ACE awards for his work that appeared on Showtime/The Movie Channel, Disney and Paramount, has a teaching credential in communications and even taught film editing at OCC) at the Fred Hall Fishing Show and conducted this interview with him after his return from a shoot in Vancouver.

Digital Media Net: How long has Inside Sportfishing been on the air?
Michael Fowlkes: Our first episode aired July 1, 1989 on the old Prime Ticket Network [Now Fox Sports Net].

DMN: How long have you been editing Inside Sportfishing on the computer?
MF: Initially we'd have VHS window burns made for a paper edit, or list. Then go into Complete Post for the on line sessions. We switched over to a Media 100 system [on the Macintosh] about 8 years ago. I'd never punched a key board before so the learning curve was challenging to say the least. We chose Media 100 over Avid at the time because the Media 100 system was so user friendly.

DMN: What editing system do you currently use?
MF: We're still on the upgraded Media 100 platform. It's been good to us, but we are take a look at the new stuff next month (NAB2005) in Vegas.

DMN: What about storage? How are you storing all the footage that you capture?
MF: We haven't been and it's turning out to be a big mistake. Once we finish an episode or composite DVD , we wax the system. With the costs today being virtually nil, there's no excuse for not saving everything we digitize. Once we wrap up the 13 episodes we're currently editing, we'll be buying a storage system.

DMN: How about your legacy material on tape. Do you have plans to digitize all that footage? How will you go about it?
MF: Our first seasons are all still on 1" masters. They've been properly vaulted, so they're fine, but it's time to get them all saved. Any suggestions?

DMN: What kind of cameras do you use to shoot Inside Sportfishing?
MF: We've always used Sony . They're simply the best, most reliable cameras in the world. We get into some pretty remote locations and can't afford to have cameras go down on us. That's why we've stayed with Sony all these years. The only real failure we've ever had, was when we jumped the bow wave of the Excel doing about 20 knots in a Whaler. I had a 5 on my shoulder and when we landed, it busted the lens and camera in half. Fortunately it happened in San Diego getting ready for a 16 day long range trip and we were able to rent another camera before the boat left. Given the environments we subject these camera to, freezing cold rain, to 100% humidity, to salt water spray crashing over the transom, it's amazing they still work. Currently we're using DSR 500s with VX 2000s in Gates housings for the underwater work. I got to shoot one of Sony 's new HD cameras recently and it looks like that's where we're headed.

DMN: How about the lens system? Are you shooting with several different lenses or do you have a main lens?
MF: Anyone who shoots for a living knows your glass is critical. On our main cameras, we're using Canon lenses. The 6.5 is my favorite, but the 9mm is a must for all your scenic and long shots.

DMN: Do you use any filters on the lenses?
MF: Again, critical We use 4 x 4 matt boxes with an 85 polarized plate for all our exteriors. It's an amazing filter. Not only does it provide excellent contrast, but it gives everything, especially skin tones, a rich warmth.

DMN: How many cameras do you shoot with?
MF: I learned to shoot in college, using 16 mm film cameras. Film stock, processing and a B&W work print for 3 minutes of footage, back then ran more than I made in a week. So you learned real quick to make every frame count. Going to video was incredible. Multi camera shoots with virtually no costs for stock. When we first started shooting the series, I was coming off 8 to 10 camera shoots for Showtime and Disney. But with my back ground I was able to shoot the entire series, initially with one camera. We'd shoot the action, then jam the camera into a housing, get some underwater shots, pull the camera out and finish catching the fish and letting it go. It was insane. We ended up buying a second HI8 camera for the underwater stuff. When you're on board a boat, you don't have the luxury of multi camera setups. Limited space, camera operators who don't puke, accommodations, so many things come into play. But the most important reason we only shoot with one or two main cameras today, is because nothing out there is scripted. Sometimes you only have a few split seconds to get the shot. You can't re cue a 1,000 pound black marlin and ask him to jump again for you. You're either locked and loaded and get the shot, or you don't. We've missed more great shots than we've got, but when you get one of those magic moments, there's few things as satisfying. The less bodies, the better, even though sometimes it makes for an extremely tough day on the shooter. You couldn't pay me enough to shoot under ocean conditions for someone else.

DMN: Have you investigated the latest HDV cameras? Will you incorporate the format into Inside Sportfishing?
MF: Yes and we are.

DMN: What about underwater shots? What kind of housings are used for the underwater footage?
MF: I met Elwin Gates about 15 years ago and we've used Gates housings ever since. They're bullet proof. More housing than we really need for 95% of the stuff we shoot, but you can't beat them.

DMN: Each DVD runs about 57 minutes. Approximately how many hours of footage do you shoot for each episode?
MF: On average, we're around 20:1.

DMN: Does any of your excess footage make it as stock footage elsewhere?
MF: We have sold stock footage several time to National Geographic, the BBC, and a few major producers for various feature documentaries.

DMN: How big is your staff? How many people travel with you to a location? Do all get to fish?
MF: Every body you add to a remote, unscripted location shoot, adds an hour to what time you have to get up in the morning before everybody gets there sh*t together and is ready to leave the dock. I hate getting up early, so we keep our crews to only a few key players. No more than four. If we're lucky, get good conditions, fish that want to bite and know we've got the show in the can, then everyone grabs a rod.

DMN: How many different locations around the world have you shot?
MF: I don't know, well over 100 of the most beautiful destinations on earth. We've shot from as far north as Alaska and the tundra thaw along the 60th parallel in Canada, all the way down to Fiji, New Zealand and Australia's Great Barrier Reef and just about every place in between. It's the best job in the world.

DMN: How many shows do you produce each year?
MF: We do 26 original half-hour programs annually.

DMN: What would your dream editing system be comprised of?
MF: I'm basically computer illiterate. I grew up pounding the keys of an old Corona. Today's technology overwhelms me. I'm a quick study. When someone shows me how to do something I pick it up pretty quick, thus I learned how to do what I need the Media 100 to do, but that's it. I can't even navigate through the thing. Ask me about the future, or my dream editing system, I don't have a clue. I rely on those who do to point me in the right direction. I've still got a piece of black electrical tape covering the blinking red clock on my VCR because I don't know how to set i