Aaron Neitz
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After Effects Coin
Forum Replies Created
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Never ever use your boot drive for media. It’s a bad habit to get into (like eating play dough). Not to say that in a pinch you can’t use it.
Chances are that FW800 drive you have isn’t a particularly good one. Given that MacPro is using Sata drives internally, they can easily outrun the FW800 bus. What kind of codecs are you working in?
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I’ve had engineers swear upon Atto and blast LSI cards as junk (LSI makes the Apple branded gear).
I’ve got a quad channel 4GB Apple card that hasn’t missed a beat in 2 years. We’ve got some Atto cards too. From my perspective there’s nothing to justify Atto’s price.
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Kindly do a search. This has been covered many times.
Your audio is running in real-time. Basically 30.0fps. You need to slow it down. 99.99%
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[Arnie Schlissel] “IOW, you really need to take a long, hard look at their project & see how messed up it is before you can reasonably estimate this. And then add at least a couple of days for unexpected problems. Kind of like a painter needs to come into your house & measure your living room before he can tell you how much it’s going to cost to paint it. And skim coat.”
sage advice!
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For a 90 minute piece: loading from HDCAM based on an offline typically takes me 1 day. Perhaps 2 if there was crappy logging in editorial. I prefer to rent the deck for an entire week just to not feel rushed, especially if editorial was a disorganized mess when they were loading.
The ONLINE/FINISHING can take anywhere from speedy week to 3+ months. It’s completely beholden to the complexity and needs of the film.
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did some quick research. As usual, Quicktime is trying to “help you out.” Which it’s not.
https://www.decklink.com/support/detail.asp?techID=189
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FCP. Just bring the clips back in and get Item Properties on them.
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Use compressor for sure. 22mbits is a great data rate – probably higher than you need, but what the heck.
in Dimensions set it to 1280×720. Make sure Frame Controls are set to ON and that you have Best set on Resize Filter (since you’re working in DVCPRO-HD, your files are actually 960×720. Need to get stretched out)
Don’t pay attention to QT player’s odd pixel display. Frankly I don’t know what it is actually referring to, but it’s awfully misleading.
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[Chris Taylor] “Wait, so you’re saying as a producer I shouldn’t even bother with a contingency plan? Because I shouldn’t expect anything on the back end, I shouldn’t bother with contracts?”
Not at all! You should have a contract! Sorry for the cynicism (I think the whole little thread has been hijacked by it)
I’m not an entertainment lawyer, but Points are typically percentages of NET profit of the film AFTER every single middle-man has recouped their “costs.” And they LOVE to cook those books…. Sure you might get a quarterly earnings report, but it’ll probably always suspiciously come out to zero. But unless you have the $$ to get a lawyer and accountant involved so you can get into their books – there’s not much hope. Just like Nick mentioned – his $25K ended up being $1000 after legal fees.
So in my jaded opinion, work out a contract in which you have whatever Points you feel is fair, but try and get a % of ANY money paid for the film right up front – paid directly you from the LLC who owns the rights to the film. So if the LLC has a theater screen the movie, the theater agrees to pay 50% of the ticket sales after their baseline costs, you should ask for a % of that paid immediately. Or if they sell international screening rights for X amount, get a percentage of that. Which sounds a little what your director mentioned “gross profits.”
Cash in hand is better than Points in the bush 🙂
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Have to agree here.
I have points on a film. It didn’t do too bad for itself. I haven’t made a single dime. No one has.
Once an indie film goes into distribution, even with contracts and lawyers crawling all over the place, don’t expect anything. It’s a corrupt world. Heck, even Peter Jackson had to sue because his distribution was being sneaky with the $$.