That’s a Wrap on the 2025-26 Lubbock Symphony Orchestra Master Works Round-Table Videos
Another season has come and gone, and with it completing the series of the 2025-26 Lubbock Symphony Round-Table Videos.
To say that it’s been a whirlwind would be quite the understatement.
Of the 5 Master Works concerts, Hamil Bros Studios Produced round table videos for 4 of them.
Sights and Sounds
Shooting the Series
Having completed our second year of shooting these round table videos, something has become very clear: the process is always evolving.
The 2024-25 Series
Year one, we were stationed out of one of the radio stations at RAMAR Communications in Lubbock, TX.
This proved to be a bit cumbersome as the room was small and, as much as we needed access to the room, there were employees who also needed to get their jobs done.
We had to run a microphone split because Classical 105.7 wanted their own copy of the discussions and we needed it for the video.
After a couple of shoots there, we prompted the Symphony to allow us to shoot in their conference room.
Bigger room and we wouldn’t be put behind schedule by having to vacate for someone else.
These shoots went well and we got into a pretty decent groove.
The 2025-26 Series
For the Affinity Steel shoot, as with many of our productions, we exclusively relied on the comprehensive range of Aputure and Amaran lights. These brands have become our go-to for their exceptional quality, reliability, and versatility, allowing us to sculpt light with precision and create the desired mood for every scene.
Our lighting package for this project included the powerful Aputure Nova P300c, a full-color RGBWW LED panel known for its rich color rendition and broad creative possibilities. We also heavily utilized the Aputure 1200d, a high-output daylight LED fixture that provided immense brightness, perfect for simulating natural sunlight or creating powerful key lights. Complementing these larger units were numerous Amaran 300C and 150Cs. These more compact, yet still potent, LED lights offered excellent flexibility for fill light, accent lighting, or practical effects, allowing us to fine-tune the illumination across the set.
Crucially, we cannot overlook the invaluable contribution of the Amaran tube lights. These versatile linear LED fixtures were consistently deployed throughout the set, often hidden within the frame or used as practical elements to add subtle accents, define spaces, or create dramatic backlighting effects. Their ability to deliver soft, even light in a slender form factor made them indispensable for achieving nuanced and visually compelling results.
This level of gear coordination, combined with our experienced team and creative vision, exemplifies what sets Hamil Bros apart in video production projects across Texas and beyond. From concept to execution, our equipment choices were instrumental in achieving the cinematic quality expected.
Throwing a Wrench in the Plans
Once the first Master Works video set was done and the concert was over, it was time to shoot the next series.
Before shooting commenced, we received a phone call: the decision had been made to move the video production back to RAMAR.
To be candid, we were less than thrilled. Shooting at RAMAR made things more complicated, to say the least. The room was designed for radio and the only considerations for any video production were limited to influencer and content-creator type shooting where aesthetics really are not important. Maybe a couple of cheap lights and a small camera. Nothing serious.
However, for us, cramming 3 cameras and a full lighting package was a challenge the first two times.
The only potential saving grace was going to be that there were no guests, just Clint and David.
Previously, between the 3-5 speakers in the round-table videos, 3 cameras, camera operators and upwards of 4-5 lights (all on stands), and Symphony staff, we were cramming 8 people and a ton of equipment into a room that might be 10’x10’.
Something had to give, and we weren’t going to sacrifice on quality.
Shooting Like Sardines
In January of 2025, we shot a Super Bowl commercial for the Dobbs Law Firm in Odessa, TX.
This particular ad was shot against a green screen at the KMID studios in Midland, TX.
While we were shooting in this studio, we discovered a tool that we had no idea existed: Matthews Studios Equipment drop ceiling scissor clamps.
These little clamps will allow a light or grip knuckle to be mounted to the railing in a drop ceiling.
The KMID Studio had these in their ceiling and the lights that were mounted on them were heavy.
We had decided to purchase a few of these as we often find ourselves shooting in rooms with drop ceilings.
This was a purchase well worth it and they paid for themselves in their first use, simply from the convenience they provided.
In such a small and unaccommodating room, we were able to eliminate all of our light stands by mounting our lights directly to the ceiling, freeing up a ton of much needed real estate in the room; of course, when I say “a ton”, it’s a relative term.
The Setup
Making Due in a Tiny Room
The Lighting Setup
Not long before this job, we purchased an Aputure 80c full RGBWW COB point light, complete with a Bowens adapter and Mini Lantern.
For our key light, we had decided to deploy the 80c with the lantern. We needed to conserve as much space as possible and this light was perfect for the job as it has such a small footprint.
For our back lights, we opted to place an Amaran 150C above and behind David and an Amaran 150C above and behind Clint.
Both lights had Amaran Mini Domes on them.
That was it. One of the smallest setups we’ve ever done, especially for a two-person interview.
The Camera Package
As is the case, most of the time, we used our Blackmagic Pyxis Full Frame 6k camera, our Blackmagic Cinema 6k Full Frame Camera, and our Black Magic Pocket 6k first generation camera.
For our lenses, we put our Tokina Cinema Vista 85mm T/1.5 PL lens on the Pyxis, our Tokina Cinema Vista 50mm T/1.5 PL lens on the Cinema 6k, and our Tokina Cinema 11-20mm T2.8 zoom lens on our Pocket 6k.
Recording Audio
For these round-table videos, we decided to give a new audio recorder a try.
We had recently purchased a Zoom H6 Studio, which offers 32-bit recording on up to 6 channels.
At the time of recording these, this unit didn’t accept timecode, but we were able to adapt one of our Tentacle Sync E units to it.
After a few hours, we had the interviews finished and were packing up and getting ready to head out.
Post Production
The post production on these videos was unique because there were a handful of occasions where we had to meet up with David Cho to get some pickup lines.
No… Not those kinds of pickup lines… Recording additional information that was missed or making corrections as some things had changed between the initial recordings and the concert programs.
Most of these were simple enough.
However, there was one morning where David’s voice hadn’t warmed up to talking and he had an extremely low voice.
Using a series of audio tools, and plugins, Ross was able to get the timbre and pitch to match and the results were seamless.
The next time we needed to record some extra pickups, we knew to tell David to warm up and we prepped some of the interviews for him to listen to so he could hear what was already recorded and match it as best he could.
The next go round was much smoother and resulted in no additional pitch shifting to make it match.
While the edits were fairly straightforward, the final concert, Celebrate America, got a little something special.
Jacob had an idea on how to animate the graphics and put Ross on the task.
The result was something very festive.
A Snapshot of the Round-Table Videos
To give you the Kliff’s Notes on what each set of featurettes was about here’s the breakdown:
MW 1: Tchaikovsky “Winter Dreams” & Rachmaninoff Piano Concerto No. 2
In our opening Masterworks feature, Clint Barrick sat down with Maestro David Cho for a warm, insightful conversation about two Russian masterpieces that kicked off the season.
They started with Tchaikovsky’s First Symphony, “Winter Dreams.” David explained how the young composer was balancing a new professorship, an opera, and this symphony all at once. The piece is packed with Russian folk melodies, urgent rhythms, and that signature Tchaikovsky transformation from winter gloom to joyous fanfare. They highlighted the beautiful oboe melody in the second movement that explodes into a five-horn climax, plus the dance-like Scherzo that hints at his future ballets.
The conversation then turned to Rachmaninoff’s Piano Concerto No. 2. David (a fine pianist himself) shared the dramatic backstory: after the disastrous premiere of his First Symphony, Rachmaninoff fell into deep depression and only recovered through hypnotherapy. The result is one of the most beloved concertos in history, full of soaring melodies that later inspired Hollywood and Frank Sinatra.
They also talked about the unique challenges of performing piano with orchestra and introduced soloist Fei-Fei, a Van Cliburn laureate who shares David’s Taubman technique background. Great insight and easy listening.
MW 3: Schumann & Brahms German Requiem
Clint Barrick and Maestro David Cho returned for another engaging intermission chat, this time exploring the perfect pairing of Schumann and Brahms.
David described Robert Schumann’s Overture, Scherzo and Finale as a capricious, fun work that reflects Schumann’s famous dual personality (Eusebius and Florestan). He also reminded everyone that Schumann was Brahms’ biggest advocate — famously declaring the young composer as the heir to Beethoven.
The main focus was Brahms’ A German Requiem. David made it clear this isn’t a traditional Mass for the dead — it’s a deeply human piece of comfort for the living. Brahms chose every Bible verse himself, and the work carries personal dedications to both Schumann and his own mother. They discussed the piece’s architecture: upward momentum in the first half, reflective peace in the second, with the beloved “How Lovely Is Thy Dwelling Place” at its heart.
Clint and David also introduced the evening’s soloists — soprano Amanda Key and baritone Eleomar Cuello — plus the powerhouse Lubbock Chorale. A rich, heartfelt conversation.
MW 4: Echoes — Florence Price, Side-by-Side with Lubbock Youth Orchestra
This special episode captured Clint Barrick and Maestro David Cho talking about one of the most meaningful concerts of the year.
They opened by celebrating Florence Price’s Symphony No. 1 and her well-deserved renaissance. David and concertmaster Annie Chalex Boyle (fresh from the Price archive in Arkansas) shared how the music blends African-American spirituals, juba dance energy, mirrored melodies, and influences from Dvořák, Bruckner, and Sibelius.
The conversation then turned to the exciting side-by-side performance with the Lubbock Youth Orchestra. David emphasized the mutual mentoring — pros guiding the students while the young musicians bring fresh energy and joy. They discussed Stokowski’s arrangement of Bach’s Toccata and Fugue, the final movements of Dvořák’s “New World” Symphony, and the high-energy closer with Pirates of the Caribbean and the Yellowstone theme. A wonderful night of community, heritage, and passing the torch.
MW 5: Celebrate America
Clint Barrick and Maestro David Cho wrapped up the season with a fun, patriotic conversation about our Celebrate America concert.
They started with Morton Gould’s energetic American Salute and Charles Ives’ playful Variations on America (complete with barbershop and polytonal twists). Then came Scott Joplin’s ragtime classic The Entertainer in a lively chamber arrangement.
The Gershwin section was especially entertaining — they let the audience vote on two different sets of taxi horns for An American in Paris, staying true to the composer’s bold intent.
David painted a vivid picture of Aaron Copland’s wide-open American sound in Rodeo and the 1812 Overture (with cannon effects through the speakers). They also covered the moving Armed Forces Salute and closed with Sousa’s Stars and Stripes Forever, featuring the piccolo section and a big audience sing-along.
A heartfelt, high-energy discussion that captured the spirit of the night perfectly.
In Closing
This season was definitely full of challenges, but, at the end of the day, we are glad to have been able to work with David.
We were sad to find out that our beloved Molly was changing jobs and moving on to other things, but we are grateful for the time we were able to work together to elevate the Lubbock Symphony Orchestra.
Ready to Elevate Your Next Project?
Producing these round-table videos for the Lubbock Symphony Orchestra wasn’t easy — tight rooms, last-minute changes, drop ceilings, pickup lines, and all. But we delivered clean, professional, high-quality video content that helped the Symphony connect with their audience in a meaningful way.
That’s exactly what we do at Hamil Bros Studios.
Whether you need polished interview content, concert feature videos, corporate storytelling, commercial work, or full live-event coverage, we bring the same attention to detail, creative problem-solving, and technical excellence to every project.
From figuring out impossible lighting situations to making last-minute audio fixes sound seamless, we make it happen — on budget, on time, and without sacrificing quality.
If you have an upcoming event, concert series, marketing campaign, or any video project that needs to look and sound professional, let’s talk.
Reach out to us at Hamil Bros Studios.
We’d love to help you tell your story.