Dan Brockett
Forum Replies Created
-
I would wait to see what NAB brings but Depression 2.0 also means that there are killer deals out there on used 200s and 200a’s
I saw a nice condition 200 go for $2,700.00 last week over on the DVXUser Market place and I have seen lightly used 200a go for $3,500.00. With the advent of solid state recording, if the deck has little to no hours, I would definitely consider used.
Why waste your money on new when there going to be a lot of newbies who got in over their financial heads in buying one and are willing to dump it so cheaply?
Dan
Providing value added material to all of your favorite DVDs
-
Hi Rick:
All good solutions unless you show up to shoot singles after flying with your limited gear and have no C-stands, nets, etc. although I did have split scrims so I guess I could have made that work.
Dan
Providing value added material to all of your favorite DVDs
-
Hi Kevin:
I shot a video for a solar project where we interviewed a couple in their kitchen and a different couple in their living room, holding their baby. I was on location in Northern California (I live in SoCal) and didn’t have a second camera setup with me. My opinion is, as long as you are shooting 16:9 and have lit the interview well, it can look pretty good. I switched my key source to straight on, so that both of the people were receiving a soft wrap from straight on, rather than one looking well lit and the other looking underlit if the key was on one side.
Depending on how loose or how structured the interview was, you could consider shooting the entire interview in a two shot, then having the interviewer ask them the selected questions a second time, getting singles and CUs. A lot of time with non-pro talent, the second time responses could be better anyway. And make sure that you also stage some reaction CUs of each, looking at their spouse, smiling, nodding, etc.
The ideal situation is two cameras, but if you don’t have a second camera, you can fake it pretty well, given enough time and cooperation from the talent.
Dan
Providing value added material to all of your favorite DVDs
-
Tony:
I am cutting a multiclip project right now. My advice would be DV only. My old chugger G5 dual 2.3Ghz does fine with up to six or eight angles of DV but anything larger (codec and bandwidth wise) causes issues.
DV works smoothly and easily. If you need a better codec, just re-digitize at high res once you lock picture.
Easy.
Dan
Providing value added material to all of your favorite DVDs
-
Matt:
Steve’s advice above is correct. I deal with music clearance on a weekly basis, I produce docs for television and I produce a lot of DVD bonus material for all of the studios. Even when you would think that the studio owns the rights to all of their material, this is often not the case. Paramount sold all of the music rights to their classic films to Sony, so when I do a Paramount classic title like the four I did recently, Paramount had to license the music in their own films from Sony. Disney is the same way, they often have to pay themselves internally for music from their own films because at Disney, every department is a profit center. My point being, music clearances and rights are an expensive and difficult process, even for the supposed owners of the music itself to use in their own projects.
The scenario you describe is a clearance nightmare. I can almost guarantee that you will not have the budget to clear any of the music cues unless you have a budget that runs well into the hundreds of thousands of dollars. It sounds as if your project would also have the potential to run into the millions of dollars in license and clearance fees if it is long form and features many people singing many different songs.
Karaoke publishers pay for publishing and sometimes performance rights and since you are reproducing their work in a new original work, you would probably have to re-negotiate all of their rights with the original music publishing and possibly the sync rights in some cases, besides paying the Karaoke publishers themselves.
As a producer, you could not choose a project that has less of a chance of ever being usable in a commercial or exhibition application. Might be fun but you would be better served putting your time and effort toward producing something that you could actually show people, enter into festivals and possibly get distribution on.
Dan
Providing value added material to all of your favorite DVDs
-
Hi Abraham:
Thanks for the advice, I appreciate it. I will be hiring someone who knows Flash to do this website, I don’t really have time to learn it. I am not by any means of the imagination a designer either.
Once the site is uploaded, is it very difficult to change out the Flash movie for an updated one or is it all tied together like a .PSD file? That might be the only challenge to Flash, I would need to change out the movies and possibly some copy at least twice a year. Once the site is built, is that something a non-Flash experienced user could do with step by step instruction or would I have to go back to the designer each time?
Thanks,
Dan
Providing value added material to all of your favorite DVDs
-
Mark:
Nice site but when I look at your reel, a lot of that Speed Channel car stuff looks way too dark to see much. And yes, the screen on my MBP that I am looking at it on is calibrated with the Spyder 2 so it is pretty accurate.
I would play with the gamma on those clips and consider a larger size QT.
Dan
Providing value added material to all of your favorite DVDs
-
Hi Gareth:
1. Anyone buys stock footage. It is used in all types of productions, from broadcast to DVD to features to web.
2. I wouldn’t say that there is demand for HD footage, I would say that all footage today, unless it is archival, needs to be HD. There is very little demand for SD footage, even for the web, where it almost doesn’t matter. Even people shopping for web footage will want HD originated material. I license a lot of archival footage and even though we deliver it in an HD master show, we are not willing to pay the extra few thousand to have SD archival assets re-transferred to HD. Yes, that’s right, almost all stock houses will charge you if you want to have your archival film re-transferred to HD.
3. What type if footage is most in demand? Foreign travel is always in demand, both cities and rural. Nature stuff always sells well, especially if its spectacular looking like aerials. Time lapse used to do well, but since we now all have $5,000.00 camcorders that can shoot time lapse, it is not as much of a novelty anymore. Business type imagery does well for corporate productions. Red carpet and paparazzi stuff will always do well. Extreme Sports is strong. There are so many little niches.
4. Can you make a living doing only stock? Not likely, especially if you are just starting out. If you were a DP with 30 years of thousands of killer, 35mm film-based highly desirable shots, perhaps, but you are not. I do have a friend who is in the top five suppliers for stock video imagery on iStockPhoto. He, however, is a very talented After Effects artist and designer and he creates most of his footage from scratch. He is in the top five out of thousands of suppliers and still only pulls in $4k to $5k a month, doing it close to full time. I would say that being a great designer and AE artist is more lucrative than just shooting and supplying stock shots.
Can you make a few bucks on the side doing stock? Sure. Can you do it for a living? Perhaps if you live in a third world country and have very low expenses. But if you live here or in Europe, I would say, no, probably not. When you can license beautiful 1080p stock clips for $20.00 and you get just a percentage of that, how are you going to make a living doing that?
Dan
Providing value added material to all of your favorite DVDs
-
-
No worries Dovydas, hopefully I answered your question.
Dan
Providing value added material to all of your favorite DVDs