Olelo Community Media

Images by Ed

Working as a behind-the-scenes or “stills” photographer is an entirely different experience to most usual photography jobs. As traditional photographers we naturally tend to take charge of the creative direction. Shooting BTS requires you to work within different dynamics, not least of which involves being surrounded by other creatives, each with their own opinions and ideas.

Meet Ed Tsang, a veteran ʻŌlelo producer and volunteer. Ed got his start with ʻŌlelo in Basic Production Training as a representative of PMI (The Project Management Institute, Hawaiʻi chapter). While taking on various video production roles such as Producer, Camera Operator, and Editor for PMI, Ed soon came to terms with the reality that his true passion was still photography.

A shot by Ed of Production Services Manager Kekoa Graham setting up a light on the set of Island Focus.

Island Focus

For more than 2 years, Ed has been a regular volunteer crewmember of ʻŌlelo’s signature series, Island Focus, is a half-hour monthly show hosted by Lyla Berg featuring exclusive interviews with community leaders about their passions, what’s new, and what impact they’ve made. As Island Focus’ official still photographer, Ed’s fundamental responsibilities include capturing shots of Lyla posing with each guest on set. Ed also captures candid photos of the activity occurring behind the scenes. This includes shots of the equipment being setup and operated, spontaneous team interactions, and breathtaking images of the unique locales featured in each episode.

A collection of some of Ed’s favorite shots taken on Island Focus.

Ed’s fantastic work on Island Focus garnered an invitation to cover the making of another ʻŌlelo signature production – Mele AʻeThe high profile monthly music showcase, shot in ʻŌlelo’s Studio 1122, presented Ed the enjoyable challenge of capturing the spirit of local soloists, duos, and full bands performing their original songs on television.

Mele Aʻe

Mele A’e lends awareness to the diversity of musical genres and talents. I am always a live music aficionado and I never knew country blues, jazz, rock, and zydeco bands existed [in Hawaiʻi]. The performances exude passion and energy. What is also a treat is the off production moments and the musicians tool around, giving glimpses of their range. I always look forward to listening to host, Jake Shimabukuro, ‘warm up’ his ukulele by playing classical music. There is no better seat in the house to hear this!”

“There is a cadence to the video production,” Ed explains. “There are rehearsals, takes, and retakes. It might rain, a helicopter or jet buzzes overhead, or someone photobombs themselves in the set’s background. My visual intent is give the viewer a perspective of the show’s lifecycle. It is a photographic treasure hunt mission. I also seek to find the subject’s energy, to find the fun in people in what they say and do. Most images are candid, where I look for authenticity in the moment. I also seek to visually explain the artisanship that goes into ʻŌlelo Community Media’s professional video productions.”

Ed captures Jake Shimabukuro discussing notes with stage manager Scott Nordquist and camera operator Alex Miyamoto on the set of Mele Aʻe. 

You can see Ed’s Island Focus and Mele Aʻe photography in each shows’ opening credits, in various marketing materials, and on all of  ʻŌlelo’s online platforms whenever the shows are being promoted.

Any kind of photography takes a great amount of focus and skill. On these production, Ed applies a unique philosophy to the art of capturing a moment. “In my opinion, ‘best’ photographs is a blend of the technical and aesthetic,” Ed reflects. “The best photographs adhere to the well-established visual language tenets in art. A compelling photograph integrates visual language elements in terms of the light, the color and tonality, the moment, the frame, and how the subject is treated. In matter of a blink, the photographer decides to select varying degrees of these elements to produce an expressive image.”


A collection of some of Ed’s favorite shots taken on Mele Aʻe.

The Technical Process

Hundreds if not thousands of images are captured by ED over a typical 7+ hour period. So, his equipment needs to be able to accommodate that. Ed uses full frame Digital Single Len Reflex (DSLR). He normally uses a 24-70mm and a 70-200mm lens, but also utilizes fast lenses if dominant bokeh is desired. A tripod, flash, and spare batteries are also on hand. Ed sometimes uses a smartphone camera on professional mode for particular scenarios. Of course, all of this gear is at the mercy of the production’s set lighting.

Ed’s DSLR images are captured in camera RAW format to avoid data loss from compressed formats like JPEG. This requires large capacity flash memory cards and a powering hard drive for editing. After the shoot, images are organized, tagged, reviewed, and ranked. The selected images are edited for color, tone, and framing and then exported to the highest quality sharable format via a cloud storage service. On average, Ed submits about 250 images to ʻŌlelo’s marketing department.

A candid shot of Lyla Berg in the green room preparing for an interview.

The Memories

Despite all of this tedious work, Ed enjoys his time on set with the ʻŌlelo production team. He reminisces, “I remember my first photography field session at the Hoʻomaluhia Botanical Gardens at the base of the Koʻolau Range. A short cloud burst temporarily suspended the video production but afterwards left misty clouds hugging the cliffs.”

“I appreciated the opportunity to see our island history preserved at the Honolulu Fire Department, our military resilience and might at the Pacific Aviation and USS Bowfin museums. The Wakīkī Aquarium, Sea Life Park, and National Oceanic and Atmospheric Administration (NOAA) facility at Ford Island all displayed our attention to the sea, aquatic life, and environment around our islands. I was fascinated with the ancient fish farming techniques at the Waikalua Loko Iʻa fishponds, the many species under our watch with the latest technologies. I appreciate that our humanity expressed in art and performing art is voiced at Hawaiʻi State Art Museum (HiSAM), Blaisdell Arena, Windward Community College Palikū Theater, Leeward Community College, and Downtown Art Center. These facilities offer insights to the diverse expressions Oʻahu has from students to professional artists. Island Focus illustrates the diversity and professionalism.”

However, Ed noted that the most memorable event for him was covering Island Focus’ 2019 holiday special at Washington Place. “I met four prominent and celebrated leaders, the governors of Hawai’i, both past and present with their spouses, at their historic place of residence. Quite an honor to take their portraits.”

Ed’s stills from the 2019 Island Focus holiday special featuring past and present Hawaiʻi governors and their spouses.


“Ed is one of the hardest working volunteers that I have had the pleasure of working with,” says Wes Akamine, Director of Operations and Project Management. “Ed is an amazing human being and dedicates himself to the task at hand.”

When asked why volunteering for ʻŌlelo is important, Ed had this to say:

“First and foremost, volunteering for ʻŌlelo is a fun experience. If it wasn’t, I would not be there. From ʻŌlelo staff to other volunteers, everyone is friendly and professional. After being a part of many video productions, I recognized the team for their cohesion. As a project manager in my previous professional life, having organizational alignment is the highest form of teamwork. Everyone knows their role, craft, the organization’s mission and vision, and actively working together for a better result every time. The crew roster is consistent with occasional rotations to help spread the knowledge and skills within ʻŌlelo.  It is a wonderful working environment to be a part of.

Ed with ʻŌlelo’s Communications Specialist Dane Neves.

Volunteering at ʻŌlelo is like helping a friend with a skill, competency, and enthusiasm in photography. I feel my contributions provide value in that the images help to promote the episode on social media and website, deliver behind-the-scenes looks, and provide lasting memories for the guests and crew. The images offer a glimpse into the community, the host location, and ʻŌlelo volunteers and staff that made it possible.

Volunteering is an opportunity to showcase my skills in photography. If I were to apply for future work, these contributions are part of my resume. On a personal note, I feel I am part of a professional team with a worthwhile pursuit and many people to network with. The comradery is priceless. And finally, as ʻŌlelo’s 2019 Volunteer of the Year, I am also maintaining my mantle. Thank you, ʻŌlelo Community Media!”

Written by Dane Neves, Communications Specialist, ʻŌlelo Community Media


Under the direction of our new President & CEO Roger McKeague, ʻŌlelo is pleased to welcome a few new faces to its management team. These new positions will better position the organization to deliver on its mission and thrive in an ever-changing environment.

Amy Ejercito, Chief Administrative Officer

As chief administrative officer, Amy will oversee all of ‘Ōlelo’s human resources and financial services. The practicing labor and employment attorney has over three decades of experience with legal counsel, strategic planning, human resources, labor and employee relations, and customer service.

Most recently, Amy served as the senior assistant business manager at IBEW Local Union 1260, where she administered and negotiated collective bargaining issues and agreements. Other previous positions include assistant director of human resources at the Hilton Hawaiian Village Waikiki Beach Resort and vice president, corporate excellence at Hawaiian Electric Company (HECO). As HECO’s director of strategic planning, she worked with the executive leadership to develop and promote the organization’s earliest sustainability initiatives.


Melanie Salvador, Finance and Risk Management Director

As finance and risk management director, Melanie is responsible for all accounting and finance activities. She has over 35 years of experience with capital budgets, forecasting, audits, risk management, finance and human resources.

Melanie served most recently as the financial director at IBEW Local Union 1260. Other previous positions include risk management administrator, senior treasurer specialist and capital budgets analyst at HECO, as well as vice president/director of the Hawai‘i Chapter of the Risk and Insurance Management Society.



Russel Cabral, Master Control Manager

The Master Control Manager is responsible for recommending, planning, and implementing policies and procedures ensuring that ‘Ōlelo’s various systems, networks, hardware, and applications run smoothly and securely while meeting the organization’s needs.

Originally from Corona, CA, Russel’s family moved to Kailua in 1981, making him an alumni of Kalaheo High School and the University of Hawaiʻi system. He has been an employee with ʻŌlelo for 30 years and has been in the “TV biz” for over 32, taking on roles from editing to audio to camera to directing to engineering. Prior to his promotion to master control manager, Russel worked as a (part-time) Senior Playback Technician.

He is also the proud producer of one of the longest running (if not, THEE longest running) music programs on ʻŌlelo, Pirate TV. At the height of its run, Pirate TV was nominated for a Billboard Music Video Award in the “Regional Music Video – West Region” category. Pirate TV celebrated its 28th year in September 2021.

When he’s not hanging out at home with his family binging the latest and greatest streaming content, Russel enjoys traveling to the mainland to cheer on his daughter who plays collegiate tennis.

Russel is happy to be back full-time at ʻŌlelo during very exciting times as he and the Playback department is developing some really cool, new, innovative stuff.



On the last shoot day of Mele Aʻe‘s second season, a comforting sense of alleviation permeated the Māpunpuna studio’s chilly double AC-filled atmosphere. The re-occurring television series that invited up-and-coming local musicians to perform their original songs in our newly renovated Studio 1122 was ʻŌlelo’s most ambitious signature program yet. The first season, which ran from February through May 2021, allowed our production team to get their feet wet with the studio’s new capabilities, including a complex digital lighting rig and an intricate audio scheme. With 4 episodes under our belt from our “maiden voyage”, Season 2 presented us with an opportunity to tinker with the format by experimenting with new concepts and adapting to unforeseen developments.

Trishnālei and her band during one of five takes.

During the seasonal hiatus, Production Manager and Mele Aʻe showrunner Kekoa Graham sought to refine the workflow and refresh the show both visually and pacing-wise. Extensive cross training was provided to every member of Kekoa’s team, which consists of members of ʻŌlelo’s Production Department and Media Service Centers, lending to a greater understanding of the show as a whole for all involved.

Still in the midst of a global pandemic, yet during a time of eased restrictions, Kekoa and team “once again found [themselves] at a wonderful juncture, where concerts were becoming a thing again.” This was great news for all the talented artists invited to play on the show, who for months had been starving for opportunities to perform their music to an audience again. We are so glad that work opportunities were reopening for a lot of potential musicians, sound engineers, and lighting operators, which just meant that we had to adjust our approach to securing talent. “We were able to partner with some really amazing musicians and professionals who were truly committed to the ideals behind Mele Aʻe,” Kekoa reflects. “And they all came through in the end to make some top-notch shows.”

One crucial position in the crew is the lighting operator. Anne Fontanilla of the Māpunapuna MSC stepped in this season to helm the highly sophisticated digital lighting board, which came with a slew of responsibilities.

Lighting operator Anne Fontanilla basks in a deep red spotlight on set.

Anne’s job begins immediately as musical performers are selected and announced by the show’s producers (usually about a month out from their shoot date). In order to precisely plot out effective and unique lighting cues, Anne studies each artist’s pre-existing music, lyrics, photographs, and biographies. These elements help Anne account for their rhythm, performance style, heights, and any other physical traits that tailored lighting could compliment.

Anne works closely with the show’s director, Jon Wong, establishing some standard lighting rules. Anne says, “Solos and duos or any slow song shouldn’t really have a lot of motions and it should complement the rhythm. Bands or any fast-tempo songs, should have more motions and also more light effects due to the possible changes from verse to chorus, bridge, etc.”

Like the lighting cues, Mele Aʻe applies particular cinematography techniques in order to amplify each musician’s performance. The show wouldn’t be half as exciting without those gloriously smooth sweeping establishing shots, achieved by jib operator Thomas Collins. A jib functions a bit like a see-saw, using counterweights to balance a camera mounted on a crane.

Thomas Collins secures his camera at the end of the jib arm.

“I already have a front row seat to some amazing music, but as the jib operator, I am blown away by all the amazing shots I can get.” Thomas explains, “I love how high risk/high reward the jib can be. Either you miss the shot and lose a magical moment forever, or you get the shot the first time, which can be a very rewarding experience.”

Thomas and the rest of the crew agree that Mele Aʻe is getting bigger and better, which also means more technical challenges. Thomas articulates, “I think the way we overcame these major technical issues and time constraints was mostly due to sheer luck, that every person working on the production was highly trained in a multiplicity of technical areas and that we were all so passionate.”

From left to right: Director Jon Wong and audio engineer Joey Green at the wrap of the shoot. Handheld camera operator Alex Miyamoto gets a low angle shot. Floor director Scott Nordquist slates for the Caballerials. 

In postproduction, Kekoa, Jon, and the other producers worked closely with Senior Video Editor, Deron Kamisato. Deron used his experience editing Season 1 to develop his own unique “eye” for the show. Chase Yamauchi, our second key editor, also contributed with his brilliant artistic foresight. Kekoa explains, “Working closely in this group dynamic, we were able to develop the entire process into a smooth running machine with very minimal wasted recording time.”

Director Jon Wong and 2nd Assistant Director Ryan Queypo switch Rolando Sanchez’s massive 8-member season finale performance.

Mele Aʻe is covered with six cameras. Each camera gets ISO recorded by in-camera SD cards, the Tricaster switcher, and externally with KiPro drives. According to Deron, this can average between 750GB to 2TB worth of data.  All the footage gets ingested and organized, then imported into Final Cut Pro as multi-cam clips.

Editors Deron Kamisato and Chase Yamauchi in their Māpunapuna office.

Sprinkling in new graphic elements created by Communications Specialist Dane Neves and scratch tracks from the audio engineer, the show goes through multiple revisions after review from Kekoa and Chief Production Officer Angela Angel. Deron averages around nine to ten rough cuts per show. After the cut is approved, the final sound mix is added and color effects are applied. Lastly, the show is trafficked through our Programming department and uploaded to our YouTube and Facebook pages to premiere simultaneously with the television broadcast.

The biggest editing challenge that Deron and Chase were faced with was the very short turnaround time for Episode 6. In normal circumstances, the team has a week after the shoot to edit and submit the show for air (which they take full advantage of). Because of an irregular month, Episode 6 was due in three days. With extra long hours and a strong support by the rest of the production team, the episode was completed and delivered on time, and garnered significant views online during its premiere.

It takes an enormous amount of resources to produce a professional-level show like Mele Aʻe. Kekoa states, “Mele A’e is absolutely on-par (or better than) any of its contemporaries not only here in Hawaiʻi, but across the country.” As a non-profit organization, ʻŌlelo has but a small fraction of the budget spent per episode compared to typical “Hollywood” productions of similar caliber to spread throughout our entire season. But we make it work.

“We are so happy our new CEO, Roger McKeague, sees the value in Mele A’e, and the real benefit it provides to the community.” Kekoa believes that “it is only with Roger’s support, our committed hard-working crew and the outstanding support of our sponsors that we can make this even begin to happen.”

Kekoa Graham reviews camera shots before the talent arrives on set.

Mele Aʻe Season 2 was hosted by Jake Shimabukuro, Pōmaikaʻi, and Ei Nei. The featured musical artists include Ella Malarkey, Makaʻala Perry, Trishnālei, Reid Shimokawa, Kryssy Samson, The Caballerials, Andy 7 Pairs, The Wide Eyed Kids, Dreams of Future Machines, Dillon O’Claray, Kupaʻaikaika Baquirig, and Rolando Sanchez.

Interested in sending in an audition video for Season 3? Visit olelo.org/auditions for more information.

You can watch the entire series of Mele Aʻe on ʻŌlelo’s YouTube channel below.

Written by Dane Neves, Communications Specialist, ʻŌlelo Community Media
Photography by Ed Tsang and Eric Baranda.

On October 20, 2021, ʻŌlelo Community Media was honored and recognized by City Council member Tommy Waters and the Honolulu City Council for our commitment to 1st amendment rights and our unique island community during national Free Speech Week. Mahalo for the recognition!
Pictured here is ʻŌleloʻs President & CEO Roger McKeague with Councilmember Tommy Waters.

The Results Are In!

Thank you to all of our candidates who submitted their nomination for the Elected Director 2022 -2024  seat. We are thankful for their interest and continued commitment to our mission.

The voting was open to all registered members. “Eligible ‘Ōlelo community access user” is defined as someone who,

  • Is an existing community media access user, AND
  • Is 18 years or older, AND
  • Is an O‘ahu resident

We emailed the electronic voting survey to 1,531 registered media users.  The results are listed below:

  • 60% Dr. Alexandra Mergenschröer-Livingston
  • 30% Bryan Clymer
  • 10% Shelby Billionaire

The winning candidate will be presented at the 2022 Board Meeting. The term will run from 2022 to 2024.

Ballots received were subject to a voting audit by an internal review and committee comprised of members who may belong to the Finance and Department, Governing Board Secretary and Executive Administrative Office.

ʻŌlelo has earned an important place in my life, both personally and professionally. Ensuring the future of this institution is an important endeavor that requires keen foresight and a proven talent for leadership. As a former professor, I have a well-developed skill set for project management and development. I have spent years growing and developing the minds of those who cross my path. It is precisely this experience of continually moving forward with visuon that is deeply beneficial to ʻŌleloʻs leadership team. Therefore, bringing the community to ʻŌlelo is important as bring ʻŌlelo to the community. It is my desire to bring ʻŌlelo into the creative narrative that thrives in Hawaiʻi. As a board member, I feel that I can bring the experience and passion necessary to harness the power of ʻŌlelo Community Media for future generations. Mahalo.


Mahalo to Bryan Clymer and Shelby Billionaire for being quality candidates!  For anyone else who is interested, this election is held every two (2) years. The next elected board voting will be in 2023.

CLICK HERE for more information about the board election.

‘Ōlelo Community Media welcomes skilled and committed volunteers and interested interns to support our mission: To strengthen our island voices and advance community engagement through innovative media, and realize our vision whereby: ‘Ōlelo is a catalyst for positive change in the community, where every voice matters.

Volunteer Lindsay Rees on camera on Mele Aʻe.  

Volunteers who embrace and exhibit our core values—Teamwork, Integrity, and Aloha—are central to our operations and essential to empowering the voices of our diverse communities.

Over the summer of 2021, ʻŌlelo was fortunate to welcome a youth volunteer from New York. Having some family ties to Hawaiʻi (the reason he was volunteering with us), Kainoa “Noa” Martin had the general sense of ʻŌlelo being a television company that serviced the whole island of Oʻahu. However, his horizons were expanded during his two-week crash course in island-style productions.

Noa in the studio for Mele Aʻe.

Noa hit the ground running as a crew member on productions such as Oʻahu Free Speech and Mele Aʻe. Some of his tasks included camera switching in the studio control room, wrangling talent, and even directing in the mini studio. However, Noa’s favorite project to work on was 808 Scene, a special showcasing Hawaiʻi’s underground music scene and shot our newly revamped Studio 1122 with multiple cameras. Noa was the switcher whose job is to operate a special control board and digitally switch between camera angles based on the show director’s wishes. The camera angle that the switcher selects is the camera angle that ultimately gets recorded in the final output. For a high-energy show like 808 Scene, the switcher needs to be extremely alert and work at lightning speed. The adrenaline is like nothing else.

Noa and Brooke Gregory fan out the special effects fog in the studio.

Overall, Noa expressed that the most rewarding thing about volunteering for ʻŌlelo was discovering the joys and pains (but mostly the joys) behind each program that ʻŌlelo produces on a daily basis.

Noa is currently in production of his own film to apply for college, where he plans to study film.

For more information on how you can volunteer or intern for ʻŌlelo, visit olelo.org/volunteer.

Noa and uncle Jon Wong, ʻŌlelo’s Production Specialist.

Written by Dane Neves, Communications Specialist, ʻŌlelo Community Media
Photos taken by volunteer Ed Tsang

Meet Genshu Price. He has been enrolled in Kāneʻohe’s JAM program since it began in the summer of 2019 and has completed several video projects including the one featured in this Hawaii News Now story. Not only is Genshu an avid videographer, he is also the developer of Bottles 4 College, a campaign for collecting recyclable bottles and cans to fund other local kids’ college tuitions.

He also just completed another PSA about COVID-19. We are so happy to see the impact he is making in his community, and are pleased to have him with us in the program. Having been in touch with Alex Miyamoto of the Kāneʻohe Media Service Center’s , Genshu says he canʻt wait to get back to making more videos this fall.

Congrats to Genshu and all his accomplishments!


We recognize that some of our viewers using Spectrum have been experiencing audio loss on one or more of our channels. We are working closely with Spectrum to resolve this issue. To help us, we ask that you please contact Spectrum (spectrum.net/contact-us) and inform them that you too are experiencing this issue.

Since 2017, Island Focus, ‘Ōlelo Community Mediaʻs monthly half-hour signature series, has featured exclusive interviews with leaders of our government, business, education, and community sectors to talk about their passions, what’s new, and what impact they’ve made in the community. Part of this series’ charm is that each episode was shot on-location at one of Oʻahu’s many notable locales including the Bishop Museum, Pearl Harbor, Aloha Stadium, the Waikīkī Shell, and the Japanese Cultural Center of Hawaiʻi.

When the pandemic hit, all Island Focus on-location productions were halted, forcing the show to transition to a virtual format. “Can we really STILL do this?” Show host Lyla Berg was “impressed with the creativity, resilience, and dedicated energy of the crew to continue producing first-class quality shows – despite personal angst, professional uncertainty, and new health regulations within the industry.”

However, not much changed inherently for the production team. Each episode, recorded in our Studio 1122 control room, was pre-produced weeks in advance, tested and re-tested prior to the taping. “The main difference for us was logistic, with a shift from in-person setups to making the best of technology and remote setups,” Production Services Manager Kekoa Graham reflects. “But the actual fundamentals that govern any production still stood, just with more PPE and social distancing added to the mix.”

Media Services Associate Alex Miyamoto directs host Lyla Berg and a guest on framing up their virtual shots in the studio control room.

Our crew quickly began to realize technical headaches that came with the rapid adoption of videoconferencing tools like Microsoft Teams and Zoom. This included shoddy signal connectivity, unexpected power outages, and lack of hardware available to the guests, who were being interviewed in their homes or their offices. However, without the WOW factor of the locales, ʻŌlelo’s Chief Production Officer Angela Angel saw this as an opportunity to engage with guests in ways beyond the usual scope.  “What was great about going virtual was that no matter who we asked, they were usually available to make it; no travel time,” Angela states. “We were also able to capture folks from the neighbor islands and even one person on the mainland.”

Lyla Berg, from her home in Honolulu, and Hawaiʻi County Mayor Harry Kim, from his office in Hilo, come together in the studio control room. 

The virtual aspect of the show also gave Jo-Lynn Domingo, ʻŌlelo’s Production Coordinator, flexibility in organizing everything. Jo-Lynn’s responsibilities include reaching out to and scheduling all of the guests as well as managing location permits and staff accommodations. One particular episode featured interviews with the mayors of all 4 counties of Hawaiʻi, which was scheduled for and recorded over a two-day period. Such a feat would not be possible had this been a location shoot requiring the guests to physically be present on site during the course of a day.

Alas, the virtual format would not have benefited Island Focus in the long run. As the City and County of Honolulu and the State of Hawaiʻi eased lockdown restrictions to the point where it was safe to shoot on location once again, the production team regrouped and set out to bring Island Focus back to form.

The first shoot back on location was on the campus of Leeward Community College in June of 2021. Naturally, there were still some concerns from the crew about COVID spread. Angela Angel affirms, “Safety is always priority 1 and the crew take extreme measures to keep each other and guests safe.”

For Lyla, the biggest challenge being back on location was adhering to the taping time schedule. After a year of separation, “all of us on the crew wanted to reconnect with one another, chat eye-to-eye, and catch up on the last year of no hugs or interpersonal conversation! With everyone fully vaccinated, including the guests, there was a little more ‘calm’ to be in closer proximity with one another.”

Production Services Manager Kekoa Graham sets up one of three cameras shooting the interviews.

So how will Island Focus be different going forward?

For starters, guests get to speak for a longer period of time. Previously, each episode, clocking in at 30-minutes, featured up to 5 guests who were given only a 5-minute conversation with Lyla. Now, each episode features 3 guests that fit into a clearly defined theme as dictated by the location of the month. From the footage captured at each location, 2 episodes will be produced. The episodes will also include “walk-and-talk” segments where a representative of the featured location takes a stroll through the facilities with Lyla, shedding light on the site’s history.

With two cameras locked down on tripods and one camera on a remote-controlled slider, the production crew performs their final video and audio tests before the first guest arrives. 

As Lyla Berg reflects, “While the vision and mission of Island Focus remain consistent, the new format now enables us to expand the initial objectives AND provide a truly contemporary service to the viewing audience.”

“In the end, we are mindful and humbled in how lucky we were to all keep our jobs during 2020,” as stated by Kekoa Graham, “and we are all eager to get back to a safe place where we can continue to provide quality content and ‘make pretty pictures’.”

80+ episodes deep and still going strong, Island Focus continues to capture the stories of our community leaders. Island Focus premieres on ‘Ōlelo Channel 53, first and third Wednesday of every month at 6:30pm, and Sundays at 4:30pm. You can also find Island Focus on ‘Ōlelo VOD Channel 52, ‘ŌleloNet and YouTube.

Pictured above from left to right: Hair and makeup artist Chris Jose preps host Lyla Berg. Production Services Associate Scott Nordquist “slates” the video with camera-ready Lyla and guest Senator Michelle Kidani. Senior Video Editor Deron Kamisato and Chief Production Officer Angela Angel record Lyla and LCC Dean of Arts & Sciences James Goodman’s walk-and-talk segment of the episode. 

Written by Dane Neves, Communications Specialist, ʻŌlelo Community Media
Photography by Ed Tsang and Dane Neves

In honor of the newly recognized federal and state holiday, Saturday June 19, commemorating the end of slavery in the United States, ‘Ōlelo’s offices will be CLOSED on MONDAY, JUNE 21, 2021. We apologize for any inconvenience the late notice may have caused.