Caption Max

Our chief scientist has come a long way from video editor to becoming CEO of an amazing, multifaceted (if we may say so ourselves) captioning company. We wanted to learn more about what inspires Max and why he works so hard to be an advocate for accessible media. Take it away Max!

CB: What inspired your move from editing to captioning?

MD: The editing that I was doing was changing from creative “storytelling” editing to special effects compositing editing.  People started doing their own storytelling with no training or sense of timing and then came to me to add the ridiculous effects and graphics, thinking it would make up for the poor cutting.  It got old, and I was looking for a business opportunity that would use my deep knowledge of post-production, running a high-service business, and my love for all things word-related.  I read a tiny one-paragraph article in a trade magazine about possible legislation that would mandate captioning, and that was all the inspiration I needed.  That was early 1992.

CB: How/Why did making accessible content become such a big part of your life?

MD: As I started to caption for some of my editing clients, I realized what a cool thing it was to provide access of video content to people who would not normally have it.  The more I talked with people who were deaf or blind, the more convinced I was that I was doing the right thing, and that, ultimately, I could build the world’s best media accessibility company that not only understood the needs of the end users but had an edge in truly understanding the needs of broadcast TV and studio producers.  They are very demanding and want it done perfectly the first time around.  And they always need it yesterday.  I was accustomed to these clients from editing, and I loved working with the creative people.  The demands were justified. The Film and TV industry responds quickly to audience demands.  Their suppliers need to be just as nimble.  I understood that.

CB: What was the first software you used to caption…or were there pens and paper involved?

MB: There was pen and paper involved, and there always will be.  I need to write down what sandwich to order at the Birchwood Cafe and whether I want sprinkle donuts or coconut-covered chocolate at he Mel-o-Glaze donut shop down the street.

I mortgaged my tiny house, bought a seat (aka license) of Cheetah Captivator Software from our friends Kathy and Gary Robson. I found a Panasonic SVHS machine, some time-code cards, an encoder from EEG and SoftTouch, and a high-capacity Mr. Coffee machine secondhand from Goodwill.

CB: In the beginning, how long did it take you to caption a thirty minute broadcast program?

MD: I type with two fingers, so it took me two hours to transcribe it and then about 8-10 hours to break it apart, fit it to the time code, add sound effects, and proof it three times.  Then the encoding was another 2-3 hours of taking my stuff to a post house, patching in, and taking it apart.  Of course, now it’s different, what with all these young’uns who grew up with a keyboard in one hand and a nuk  in the other.  Also, we have our own very elaborate digital tape operations center, which is actually much more extensive than the post houses I used to encode in back in the days of yore.

CB: How do you keep current and informed about everything our industry touches (i.e. emerging technologies, TV & movies)?

MD: I listen to our customers and listen to our Consumer Advisors.  I utilize technology as it comes out so I can visualize how it could and will be used for accessibility.  I’m a gadget freak, so it’s also a great excuse to keep up with the gadgets.  I read piles of trade magazines, websites, watch TED seminars, talk to my seatmates on my many plane rides, and get the inside scoop from the waiters at the hotels I stay at in LA.  Also, I call Donna and Gerald, and they just tell me.

CB: What do you hope for the future of accessible media? What are your most wacky dreams of accessibility?

MD: I hope that making media accessible will be part of the production process and not an afterthought. We have done some really excellent work in universal design of classroom media in which the media is published so that it’s useful to all audiences from the start.  It takes some extra planning up-front, but once it’s in place, it makes everyone’s lives easier.  The same could happen for broadcast and movies. And we are beginning to see a shift in that direction with more content on the internet than over the airwaves.  We’re helping our customers see the value of captions and description beyond providing access to people who are deaf and blind.  Teachers, people learning English, people with ADHD like me all have great uses for accessibility features.

CB: What is it about creating CaptionMax that you’re the proudest of?

MD: Without a doubt, the incredible staff of CaptionMax.  We are a big company, but we’re still a family.  Most of the staff has been with me since the beginning, and many have worked with me in my former life as a Post Production Exec.  Everyone here is passionate about accessibility, and the brain trust is huge.  It’s so very humbling to come into work every day and be surrounded by all these great friends who are ALL smarter and more creative than me in some way. I learn so much from my staff every day. I absolutely love being in our various offices.  I am proud that we have built the company in a local, organic way; no outside investors, no overbearing debt.  We support local businesses, and we keep everything in the USA.  We use the profits to invest in technology and the very best people we can find.  When we are able to, we invest back into our community’s various social service agencies and nonprofits dedicated to improving the lives of our fellow neighbors and citizens.

I’m also proud of our reputation for quality, and I’m proud of our reputation for being flexible and forward-thinking.  I’m especially proud that my wife and kids still give me “courtesy laughs” to the same jokes I tell over and over.