Christopher Wright
Forum Replies Created
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Yes I have yet to need or use Prores on any project so far, and I am in the logic loop/conundrum of whether to invest in a Kona 3 versus IOHD on the octocore. My current MXO, IO and LH just keep pumping out the HD and SD content quite satisfactorily.
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Very interesting! I didn’t know the LH and LHe were capable of doing Prores!
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Brendan,
So nice to know ye!!
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I eat marshmallows.
I drink scotch.Hopefully not at the same time!!!
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Also the Matrox MXO new beta driver also works with Color, SD or HD.
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So Gary, are you in the Sequim area??
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What Walter said..
This is one of the many features I loved in Discreet edit*, that had rock solid, smooth motion interpolation versus the very touchy beahviour FCP has when resizing, having motion within stills, and speed changes etc. There is no reason to keep this behaviour the default in FCP.
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Now that is an awesome tutorial!!
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Still photographers also have a professional association that backs them up and gives them legal recourse if someone reprints their work without permission. Most wedding videographers also belong to this same association and abide by its tenets and rules. Maybe that is what we as DPs and “videographers” need as well! ;>) I also can’t remember the last time a producer or director I worked for had control over lighting, camera placement, whether to dolly or not, composition, etc.. Those are my responsibilities as DP, as well as the overall artistic look of a film, the film stock used, HD format required, lens selection, etc. They hire me for that kind of expertise. Most producers I work with get all the minutae in place for the production, and the directors work closely with the actors. But again, that is one definition of actually being a “DP” versus being a “videographer.” In my DP work, any interaction with a director is highly collaborative, they aren’t just hiring a “video guy” to cover a speech.
As was mentioned previously, a “template” contract would never work, as each job is different, and every client has different needs. -
We just had a seminar for documentary film-makers here with an entertainment lawyer, and she emphatically states that unless you sign a “work for hire” contract, the videographer owns the footage. It is the same rule as applied to still photographers, there is one fee for shooting, and another (much steeper) fee to get the negatives along with the shoot. Thus the “paying for the tapes” argument can be seen as “releasing the negatives.” I always reserve the right to use ANY of my B-roll footage shot on locations in any of my future productions, or to sell as stock footage, and also reserve the right to use ANYTHING I have shot to be used as evidence of DP skills on the web and my demo reels. Anybody with deep pockets can win anything in court, as Steve Wargo points out, but that is why a clear contract from the beginning makes the only sense, and I will not shoot for anyone, ESPECIALLY non-profits, without a clear contract and understanding of who owns the footage I shoot. When I have shot for Canadian PBS, American Masters, U.S. PBS, National Geographic and other national broadcast clients, I of course hand over all the footage after the shoot and always ask (and have always been granted) permission to use clips from the finished project or show on my website and in my promotional materials. I am usually given a high quality version of the finished show gratis anyway, which also has me listed in the credits according to my contribution to the projects. I can feel the original poster’s pain in working with non-profits, as I have worked with many of them for very little or free, and they want to take the Masters and pay someone else to edit the raw footage. That is where I definitely draw the line. Bottom line, always have a contract in place to protect your work and images.