Gary Hazen
Forum Replies Created
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Search Red Giant’s website.
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The short answer is, for years the numbers have been wrong (due to rounding off) and Adobe finally decided to correct the numbers.
For the long answer read this:
https://provideocoalition.com/index.php/cmg_keyframes/story/par_for_the_course/ -
“Maybe there is a risk-sharing agreement where we take a percentage of the campaign in return for offering discounted production services? ” -B.T.
That sounds like a kick back to me. I agree with Grinner, it costs what it it costs. VO talent, actors, music; all fixed costs – you’re going to have pay for the licensing for each subsequent use. If you’ve designed a motion graphic treatment then sure you could easily repurpose the treatment for a different customer. But are those savings on the front end significant enough to justify any discounts on future versions of the work? Ad agencies are the rain that feeds the production community. But you give them an inch and they will take a mile. In end the discounts that seemed like a good idea on paper will result in thin profit margins. If you attempt to adjust your rates with the agency they will take their “discounts” idea to the next production company down the road.
“The question as a video production company is how can we partner with them so that both the ad agency and our company benefit? Do we just charge them normal production rates?” -B.T.
Charge your normal rate and both parties will benefit. They benefit from getting high quality work turned around on time and on on budget. You benefit by getting paid a rate that is fair for the quality of work that your company produces
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Since they are stills you could hand color the images in Photoshop. When finished you should have 2 images with identical dimensions. Use a naming convention that will help in identifying the source material in AE. You could add _m to the name for the monochrome images and _c for the color versions. Once you’re in AE animate the monochrome version. Duplicate the layer and replace the monochrome image with the color version – alt drag the color file onto the layer name. Then animate the opacity of the color image as needed.
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“There is a slight transmission delay of about .75 to 2 seconds, depending on the camera settings.” – JW
That’s a deal breaker for live broadcast. RF transmission delays are measured in frames not seconds.
High quality RF systems are very expensive. If you lower the delay times and put together an affordable package you should be able to get the attention of potential buyers.
Here’s one company that offers hardware to transmit HD over RF.
https://www.rfcentral.com/They will be in Austin in August for TAB 2010 if you want to check them out.
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Rough Cut: Preliminary stage in film editing, in which shots, scenes, and sequences are laid out in an approximate relationship, without detailed attention to the individual cutting points.
You can call it a rough cut, first cut, first pass, version 1 – whatever. In the end it’s a roughly laid out sequence of events. If you end up spending an hour making fine adjustments to a single edit then it’s no longer a rough cut. Manage your clients expectations and you’ll be fine.
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Here’s the driver.
https://servicesplus.us.sony.biz/sony-software-model-PDWU1.aspx
But if you’re at a facility using their hardware then please ask for permission before installing software on their machines.AMA (Avid Media Acess) is a new way of getting at the media, I think it works similar to FCP in that you don’t need to import the media. I’m still running on 3.0 so I haven’t had a chance to mess around with it. From what I understand though, using AMA disables the XDCAM import functions of the import tool. Perhaps Job or someone else more familiar with AMA can explain more clearly.
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Did you install the PDW U-1 driver ?
Is AMA off or on ? -
It has no future. It’s a dying format. That said, expect it to be a long slow death – meaning, a lot of broadcasters will continue to accept Betacam for years to come. We are finally making the move to finishing in HD this year. I contacted the dozen stations that carry our spots and only three of them accept HDCAM, the others accept Betacam. Sure HD is here, but Betacam is still alive and kicking in most markets.
“its quite an investment to buy one”
Not really. You can find a used one for a few grand. That’s dirt cheap.
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Regarding recording a switched feed for editing there are a lot of options. The right hardware choice depends on the NLE used for post.
Telestream Episode
-encodes to Avid and FCP native codecs.AJA KiPro
– encodes to ProRes (Apples codec for FCP)Grass Valley T2 DDR
– encodes to the Canopus HQ codec. You would have to do some research on this to see if you could use this codec with Premire CS3. Also, it’s relatively new piece of hardware – I don’t know if they are out there for rental just yet.