[Greg Ball]

Steve-

Why would anyone offer this to a client in a video contract? Do you ofer this?

“Hansen’s retains the ownership and copyrights for all text, graphics, artwork,
audio and video content on all projects created for or provided by Hansen’s. Hansen’s has exclusive rights of ownership…”

[Greg Ball]

Thanks Kiernan, So this is the way to go! Very cool!

Greg

[Greg Ball]

So if I buy a mac G5 Quad I would need to buy a second hard drive for the Mac, and that would work? Is this a definite? Or is this just speculation at this point? Again this would make a hige difference in my buying decision media 100HDe versus FCP.

Is Media 100 testing this? When where there be a definitive answer?

[Greg Ball]

Hi Arthur,

I was looking at the M100 HD suite. But to your point sure, I would be better off with the HDe.
So basically we’re talking about $3,500 for the m100 versus $2,100 for the FCP with a Kona Card. A $1,400.00 diffference. Not bad.

But now I need new external drives. I can buy 2 G-raid 500 drives for under $1,000. Will the m100HDe
work with those drives or would I need to spend more on better drives with the M100?

Thatnks for your help

[Greg Ball]

Hi Bobby,

Wow, I guess you’re not a fan of FCP. It seems to me that I’d be looking at a total system cost difference of around $5,000. Buying all of the same equipment, except that the Media 100 HD would cost $6,000 to purchase. The FCP would be $1,299, actuallt $699 upgrade. after I send them a FCP 3.0 disk.

Here’s some other questions. In FCP, once you do all of the codec and output settings the first time, aren’t you done? You don’t have to do this each time do you? Also are all of these settings due to your blackmagic extreme? Would this be the same with a AJA Kona?

Also, there are not too many Media 100 editors out there anymore. So if I wanted to work in conjunction with another editor would I be able to give them files out of M100HD if they were on a FCP system? Thanks for your advice. I apppreciate your honesty.

Greg

[Greg Ball]

Hi Ron,

I agree…I’ve gotten wonderful advice here. But there’s a bit of a misunderstanding. The client who originally hired me knew me from our past employment together. He’s part of the training department.
All the videos i produced, directed and edited were training videos for their sales and technical staff. This ew person is part of the marketing staff. We all know internal marketing departments look down on other departments, especially when it comes to creativity.

I’ve produced many shows for these folks, and they’ve loved every one of them. I evn got kudos from the CEO on more than one occasion. I’m not worried about losing the account, but I want to do two things here…protect my rights, and more importantly support my training client while under attack from the margeting “guru”

I just don’t think it’s right for her to ask for the masters so she can bring them elsewhere to edit. They are a large granite company. Would I buy their product and tell them to measure my kitchen, cut and fabricate the granite then drop it off so some opther granite company can install it?

So my real question is. I never included providing them a video master in the original proposals.
I feel that I most certainly do a better job editing their new videos considering I kniow the product, and have all of the camera original footage as well. Should I just tell them I do not have a video master? (only a DVD master) Should Icharge them for the masters and the rights? If so, how much would you charge per title? Or do I send them legal info on copyrights?

Greg

[Greg Ball]

Thanks all for your advice as usual. My original proposal/contract charged them for one DVD master.

So if they want a Betacam master it will take me a considerable amount of time to find the media on my hard drives, move it back into my system, and output it to Beta SP. I’m concerned about such things as the rights of the actors in the show, the voiceover talent, and the music cuts. Wouldn’t they be entitled to additional payment especially if their images/voices are used in advertising?

I agree that I’d like to be the one to be editing the video, sine not only do I have the edited show, but also the raw footage.

Do you all have something worded in your contracts dealing with ownership of the material? How’s it worded.

I also found this article on-line.

https://www.digitaljuice.com/magazine/articles/2006_034_vtx.asp

Any thoughts?

[Greg Ball]

Today the client emailed me to say that this marketing director wants all of the masters to all of the shows I’ve produced. Here’s what he wrote:

“She now wants masters so she can go in and edit information from select tapes for other marketing/advertising projects. I’m assuming this means tapes not disks.”

On my original proposal, it only states that I’m harging them for the creation of a DVD master for each show. Nowhere do I discuss providing them with Beta Masters so they can edit info with some otheer post house. Again this is a very good client, but I’m really unfomfortable here. Any advice on how to deal with this client without offending them? Thanks.

Greg

[Greg Ball]

Can you explain what the AJA (OEM) is? Is this the same as buying a IO or Kona card with FCP? Does this come with the Media 100?

[Greg Ball]

Thanks Tony,

I’ve got about 6K for a G5 Monitors, AJA, Speakers FCP Universal upgrade. I already have the decks.

Which card would be better? IO or Kona 2? Which used Mac G5? 2.3? 2.5? How about G-raid 500 drives? Which monitors?