[Gary Huff]

[Ricardo Marty] “For a company that has placesed its future on the on the internet its a major situation. “

No it’s not. You act like simply being on the Internet is going to blow up your machine. That’s simply fear-mongering. I flew by the seat of my pants on Windows for years (and it’s much better now than it used to be even), and did not have a problem.

Why?

Because I’m not ignorant. I don’t just click around like I’m machine-gunning the mouse, accepting every thing that wants to download while I blindly click around Google search results of a dubiously legal nature.

If you keep Windows updated, use Security Essentials, and don’t just automatically click every DOC, RAR, and EXE sent your way by people you don’t even know, then you’re going to avoid a lot of that.

[Gary Huff]

[Bill Davis] “you might well have noticed that every attendee allowed into the room literally had to sign a multipage NDA prior to admission. Same for tomorrow I’m sure. Interpret that however you like.”

I will. Apple makes everyone sign an NDA for everything, including for food specials in the on-campus cafeteria.

[Gary Huff]

[David Lawrence] ” don’t think it really works for the kinds of stories we tell as filmmakers. It’s for something different we’re still figuring out. It’s for stuff that wouldn’t work as film.”

Bingo.

[Gary Huff]

[Michael Horton] “We are calling the presentation ‘Can you Tell a Compelling Story in VR and 360° Video?'”

Betteridge’s law of headlines.

[Gary Huff]

[Craig Seeman] “There’s always NewBlueFX Flash remover plugin.
“

If $99 is worth it to fix a single flash problem. Frankly, I don’t think people care. I see it in vids all the time and I bet you 99% of the online viewing audience doesn’t notice and/or care.

[Gary Huff]

[Ko Frank] “I try to fix this with RE:VisionFX DE:Flicker. But the effect is not good.”

That’s because that’s not the kind of problem that DE:Flicker fixes. DE:Flicker is for LED light and screen sources flickering in the frame, not flash banding artifacts created from using a CMOS sensor.

[Gary Huff]

[Dave Gage] “It will interesting to compare the speed difference between media on OS SSD vs. on separate spinning HD.”

Hey Dave, you won’t see the kind of speeds I am seeing with my 2013 MacBook Pro 15″, but switching from the LaCie Rugged Thunderbolt drive to the internal SSD saw a drop in render time from 40-ish minutes per clip (Sony F55 4K raw to ProRes HQ in DaVinci Resolve 12) to less than 10. Yes, just from switching the destination drive to the internal SSD.

Now, with SATA connections (instead of using a PCIe lane like the new MacBooks do), you’re going to see about half that speed, but it’s still respectable.

Unfortunately, I am still waiting for sizes to increase and be cheap enough to consider. My current “work drive” is a Backup Plus Fast 4TB from Seagate because it is RAID 0 (which means I backup often) and gives me a bit less than a 1/4 of the speed of my internal SSD, but much better than a single drive. I do miss the 17″ with the internal drive as I am now tethered all the time, but I do like the breathing room that 4TB gives me. My last project was 1.1TB of material which clearly would not have worked with an internal SSD!

[Gary Huff]

[Herb Sevush] “My guess is in a few years young viewers”

I think you mean young videographers. I don’t see audiences driving these techniques.

[Gary Huff]

[Simon Ubsdell] “You seem to be suggesting there’s something illegitimate about that … which is what I’m having a hard time getting my head around.
“

There’s nothing at all illegitimate about that, and I too support your war against terrible talking head angles. Too many people would rather be shooting something “sexier” and bring inappropriate camera work and techniques to the subject. And they are inappropriate when they detract from the intent of the content. You can argue that creativity is always nebulous, and try whatever “creative” thing you pull out of your rear in a given moment, but if you don’t have a specific reason other than showing the world you can be arty, then you’ll probably do something that is irritating to viewers, regardless of whether or not they are the kind of crowd that frequents Creative Cow. My wife, for instance, has hated the same poor interview shooting as I have in recent documentaries we watch, even commenting on it before I’ve had a chance to. She is absolutely not the kind of audience that is thinking about technique or style or any of that, but knows when she gets annoyed by something presented in a visually lackluster way.

[Oliver Peters] “The Errol Morris solution is to shoot with the subject directly looking into the lens and has designed a rig accordingly. He also accepts and sometimes revels in the jump cut during the interview.”

I actually like the Error Morris look, save for the jump cuts, but in my own particular taste of shooting, I came about with a compromise in which I get the eyeline tight. This requires the interviewer to sit right next to the camera (and not talk with their hands lest they hit the camera) so that the eyeline is ever so slightly, but I really like how it looks.

I also tend to make the second camera angle really close to the main, making the two cameras sit as close to each other as is physically possible. I find the second camera angle is horribly abused these days in a way that is not clever, artistic, or interesting, but annoying and distracting and screaming LOOK AT ME! I’M BEING CREATIVE!

[Gary Huff]

[Mark Suszko] “Scary thought, if your thinking was that solid state media based on a chip was going to be your permanent backup archive.”

I hope no one was thinking that at all. 2 is 1 and 1 is none. Even applies to LTO.