Brendan Coots
Forum Replies Created
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Hmmm I dunno, I would try a few more tests before completely tweaking your workflow in a way that will cost you hours of extra planning and work. In reality, your system should be able to handle “big layers,” and you REALLY shouldn’t be having these issues in wireframe mode. Changing your workflow to suit this problem is just postponing the inevitable pain of solving it. Here’s a few questions I have:
1. – What happens if you create a totally new project with a 720×480 comp, single solid layer and attempt to draw masks etc. If you are still getting these issues there is something very wrong with your setup, be it the computer, RAM, preferences or install of AE. Do not pass go, do not collect $200.
2. – How MANY of these big layers (2,000×2,000 or larger) do you have, not just in your main comp but any subcomps that feed into it?
3. – Are there any odd format items in your comps like HDV footage, MPEG4, H.264, MP3 audio etc? What file format are the large stills?
4. – While this isn’t usually a huge problem, are you using OpenGL acceleration?
5. Try downloading Aja’s disc speed test utility (free) and run it on all of your drives, including the FW800 drives to make sure there isn’t some screwy throughput issue. You should be getting at least 35MBps average read speed from each drive in your system.
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
This sounds like a straight forward work-for-hire job where the client is paying you to shoot and edit on his behalf. Typically, in this situation the videographer/production company isn’t entitled to any ownership rights (outside of the right to use for marketing purposes), and why should they be? The client is hiring you to create this work for him, and by footing the bill they are taking all the risk – it makes no sense for them to not only surrender all ownership rights, but to also let you turn around and profit from their risk. of course, if the client is willing to go along with this the rules change, but their sanity might need to be examined.
Either way, you might be better off using this client’s footage as a demo of what you can do, using it solely as a marketing aid to convince other parents to hire you for their own video. Why spend the time and effort working out complex legal agreements, profit sharing arrangements etc. when chances are most parents will want their own video that specifically highlights their own child’s performance? Sounds like a lot of added work and hassle without enough downstream potential to justify it. I would also add that you risk your client relationship getting a tad sour when you propose this whole idea, since he is very likely expecting to be the sole copyright holder on the work he commissioned.
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
This whole discussion depends on what editing software you are using and your workflow. For example, if you are using Final Cut Pro (poster still has not said what his system and editing software is) it can dynamically adjust the video quality etc. to help performance. You can also do things like working with proxies until final render. You may want to consider working with proxies either way, because HDV is very processor intensive even though it has a low data rate (same as mini-DV).
As for wireless, HDV has a data rate of around 25MBps, that’s 25 megabytes per second. 802.11n wireless protocol has a peak throughput of 24MBps. Good luck actually getting that, especially with any consistency. This means that one stream of your HDV may make it ok (highly doubtful), but overall you will probably have a slow-going, chunky experience.
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
Video copyrights only apply to the creative content – as in, you give him full rights to use the video you created in any way he see fits. He then files to obtain a legal copyright on the creative work naming him as the owner of the work. Any one who wishes to use it must get permission from him, and you no longer would have any rights to use it (unless he gives you that right) and you would ALSO lose any claim to moneys received should the work be sold, licensed or distributed etc.
In short, it doesn’t matter, nor will it ever come up, what software was used or anything like that. All that matters is the agreement between you and this friend of yours with regards to who legally owns the finished video.
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
Guerilla Marketing – Jay Conrad Levinson
Winning Results With Google Adwords – Andrew Goodman
Selling To Big Companies – Jill Konrath
Lead Generation for the Complex Sale – Brian CarrollThose are just a few, note that none are video business specific. I haven’t read a decent book specifically for our industry, but that makes sense. The sales and marketing principals that guide most video companies are not that different than other B2B companies with an expensive product, complex sale and potentially lengthy sales cycle.
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
I agree, Ron. If I have to read another email from someone using the same old generic self promotion/marketing puffery/classic resume language I’m gonna keel over.
I guess that comes with the territory. I must admit I remember how tough it is to craft a unique pitch that will cut through the resume clutter EVERY TIME you are looking for work, but people really need to try harder. I think most people out there forget that they are competing against other applicants and need to stand out from the crowd if they want to get noticed.
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
I hate getting cold calls, even if it is regarding employment. I am busy 10-12 hours a day and can barely spare the time to eat lunch (in fact, I rarely eat lunch), much less take calls. To make matters worse, people (understandably) want to get personable and friendly, chat it up etc. and I just don’t have time for that.
I know that sounds a bit grumpy, but it’s just the reality of running a studio. I would WAY prefer a simple introductory email with a link to an online demo reel. This way I can not only read the letter when I have the time, but when I need to hire it is much easier to pull up links than dig through the dreaded demo reel bin and load DVDs.
As always, just my 2 cents…
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
One last comment on the issue – on what grounds were there credits at the end of a work-for-hire piece? When a client hires a video company to create a work for them, the artist generally don’t get attribution unless it’s specifically arranged for in the contract, or even by verbal agreement.
If you did in fact have an agreement (verbal or otherwise) with them for attribution, you have a major issue here. They can’t just violate that agreement and remove the credits if it was agreed upon that they would be part of the finished piece. Sure, technically the video is their “property,” but that doesn’t allow them to violate the contract.
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
First of all you really should, if at all possible, complete your composite in After Effects rather than bringing the keyed shot into FCP to add in your background. After Effect’s tools for doing composites are much more advanced and you will get a cleaner result due to other issues. You will also have way more control over things like matching up the lighting, adding in details to help “sell” the shot etc. Even if you don’t plan to do a lot of advanced compositing, you will get a usable result much easier in AE.
That said, the reason you are seeing a fringe around your actor is because you need to render from AE using the “Straight” alpha type rather than premultiplied which is the default – once you select millions+ in your render settings, you can change the alpha type.
Note that anything you render with a straight alpha will look really screwy in Quicktime player, but it will import into your apps properly.“I came across the statement that it was best to bring the files to be keyed directly into AE before they are put into FCP.”
Since you are shooting DVCPRO HD I will assume you are using an HVX200 or similar camera. If that is the case, then you don’t really have anything to lose using FCP to ingest the footage. Ingesting footage will not result in generational loss, in this case it is merely converting the video/audio data from the MXF “essence” files into a usable codec, but it doesn’t degrade quality in the process. The only alternative would be pulling your MXF files directly into AE which is detailed in this Adobe document. Can’t say that I’d recommend this approach but others who have done it more than I may have more insight into this approach…
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com -
I would generally agree with this. I only even bothered responding because you said Keylight was crap and I felt that needed a rebuttal.
I will add that I have had a LOT of success getting one-step keys with Keylight.
Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com