[Dave Rudolph]

Strong recommend! I have a ton of questions, but with a free trial, most of them will get answered. I do fear that iOS, OS Catalina, and or Photos will shoot it down or make it meaningless. My working hours+ to explore Key Flow are still directed to my hardware and the support system of Apple. Know that I am pretty stoked with the possibilities. Yep!

[Dave Rudolph]

I appreciate that you shared this app suggestion with me, I was since stunned with Larry Jordan’s presentation of the software. So far this is as far as I have been able to preview KeyFlow Pro, but Wow! a breath of FreshAir in the consideration. Very much obliged.

Is this largely true?

[Dave Rudolph]

Well, let’s face it, this is not a site thick with insurance agents. Nick Griffin, thanks for thinking through the subject matter and giving it a whirl. What you are suggesting and proposing sounds likely. I have put in a request to my agent. They are asking me the value of the library. I suppose I could value it based on “X” per hour for the shoots. The other possibility that occurs to me would be to value each as if I was accessing it for an edit product. This would be higher value of course applied across the board to each cassette. At this point I am not privy to the multiplier that will determine the cost of coverage but with little value achieved from the stock to this point, I will likely end up creating or determining the value by the amount it will cost to insure it. This has helped prepare me for that Monday call to my agent.

Thanks a ton.

[Dave Rudolph]

Brendan, thanks for for the look at this. It is correct that the client is paying for “shoot and edit”. I wrote to the Cow exactly because of some unique aspects that in my mind make it less than straight forward. It may very well be an unlikely agreement but…
1) I often and regularly shoot games without any promise of follow up business. I have a great archive. The client by recommendation from their trainer is ensuring that there will be quality footage for them from specific games.
2) Even in this case of “for hire” I will be shooting the game itself in the broad sense (later editing key moments of interest for this player’s portfolio). It is possible/likely that another family would want the “game” or a close-up or a specific highlight or team celebration from this game. Another edit so to speak.
3) The game itself is a product that could be sold to other fans, other players might like a highlight or closeup pulled from this same footage.
4) The quoted hourly fee would in theory be higher when giving up the right to produce the above mentioned product.

I think the reason the client might not find this arrangement insane would just be that they need a specific product from the effort and have no need or interests beyond this. If you hire a photographer to shoot your kids party, maybe you get him a little cheaper if he can sell pics to the other parents as well.

BTW I am not understanding your point of risk. Are you thinking of a financial or legal risk for the client? Please explain.

I take your point about complexity seriously. There is no advantage in a contentious or difficult arrangement amongst my market. I am inquiring about the possibility of a simple contract/proceedure to achieve this arrangement.

Thanks again for your interest.

[Dave Rudolph]

Dang! I should state that the clips imported (and or sent) to Motion correctly. It was after Optical Flow frame blending that the clips shortened.

[Dave Rudolph]

My dv clips were captured in fcp5 from a consumer camera. The clip I sent to Motion was one I had slowed the speed by 60% originally in FCP5. It was my intention to experiment with Optical Flow Frame Blending. The blending seemed to go well except that it was working with the whole capture and the file size was excessive (200+ GB). I then became aware of the work around of exporting just the actual portion of captured clip that you want Motion to consider. That is the how and why of my using QT files. Once Motion 3 was working with the reduced clip the frame blending remained unalterable short in either of the timelines. It may have been half the original length (I ultimately saved the clip while in Motion at 50%). I gave up and tossed this particular clip out. I then repeated this process with FCP clips that I had not already performed any speed changes to. Same thing.

At this point I became aware of the Project Properties window listed in the Edit Menu or (command J). I adjusted the The duration of the clips here and at that point they did in fact roll out to the intended length in the Motion timeline and later in FCP6 as well. Until this point I had been trying to lengthen the clips manually in the timelines as well as the Inspector and FCP Viewer. Did you by any chance try adjusting your clips in Project Properties before arriving at your export/import solution?

I have to wonder about the fact that my capture is from an older consumer camera and I need to add that the sequence they were from were originally edited in FCP5. So not very scientific or conclusive but a little more dialogue to consider on this issue. Funny thing is that was the very first thing I tried to do in Motion. I had noticed the possibility in Apple’s online tutorial. I hope the rest goes a little smoother as I think I’d like to spend some time in this application. It seems to have a lot to offer.

Thanks for your assistance Rafe.

[Dave Rudolph]

OK, Rafe is from Memphis. I still think he deserves an answer to his question. Besides, I too am trying to work through this very issue. Is it too basic to aknowledge or just arcane and who knows?

Thanks for any assistance.

[Dave Rudolph]

This thread has helped clear up one of the more obscure yet personally relevant issues I’ve yet come across. Envisioning a video village indoors and out is a bonus. That Will Salley’s information will also save some major money is a shock.

Happy weekend!

[Dave Rudolph]

Will

Not knowing your position, type of work or personality I am not quite sure what you mean by “for producers and clients in the video village”. I am also unclear what function a TC display unit provides in your personal workflow.

Sorry to be so thick and persistent both.

Dave

[Dave Rudolph]

Well this is exactly what I wanted to hear but wan’t expecting. This is simple and not overwelmingly labor intensive nor tethered (except for the likely hourly maintentance).

What is the purpose or advantage then of purchasing a few thousand dollars of lockit boxes or similar and perhaps a time code generator? Are these primarily broadcast issues or for additional control and less finessing during post edit?

Will, thanks for answering my original post.

Dave