[Herb Sevush]

[Jok Daniel] “You really don’t think that clients would have sussed it over the course of those 20 years?”

Well they hadn’t sussed it out for the previous 20 years, so I don’t know what has changed. When clients were spending millions on air time it was easy to convince them that they had to spend 200K on a spot even though it could be done properly for half that cost.

[Jok Daniel] “In fact, wouldn’t this “open joke” represent a fantastic business opportunity for anyone willing to clue them in?”

Not for large corporate spots, no. It was not just the agencies that profited from the high costs, the product managers were treated like royalty and had no incentives to keep costs down. Their mandate was to sell products, not to watch the budget.

[Jok Daniel] “So where are all the upstart companies producing top commercial work at corporate rates?”

Doing test spots and starving, back in my day.

[Jok Daniel] “Just like in any other market, you get what you pay for. Simple as that.”

True that. In this case, as in sales of luxury items, what you got for the money was the impression of quality, and how good could something be if it didn’t cost a bundle?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Jeremy Garchow] “You can also flip 30 seconds around many many times. As Jok said, there can be 100s of versions.”

Are we gonna end this thread without mentioning the obvious – that agency’s make a commission on the cost of the spot and therefore have very little incentive to keep costs down? I haven’t worked on spots in over 20 years but unless things have changed radically this was an open joke known to everyone but the clients. I could, and often did hire the same crew at literally 1/4 of the cost for a corporate job as an agency spot. Keeping costs down on production and post seemed trivial when considering the cost of airing the spots and to create “the perfect spot” no cost was too high. Under those conditions absurdly long schedules were the norm.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Aindreas Gallagher] “It’s made out of cookies.”

Indeed.

Thanks.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[James Patterson] “Coincidentally, this ad came on the TV just after I’d watched the Lightiron vid.”

It’s not just Vodka, it’s a “Vodka Experience.”

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Zachary Potter] “Michael Cioni has done more to innovate workflows of the industry in the last five years, than you – we have been doing in the last forty years.”

If you say so.

[Zachary Potter] “i understand that this presentation is quite clumsy, but I hate when people like you two don’t respect others that are doing well and are trying to change things in a good direction. It’s so vulgar and cheap”

Sorry, but the tone of that piece tickled my vulgar and cheap funny bone.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

Also, it’s not just a movie, it’s a “movie experience.”

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Aindreas Gallagher] ” I had to skip past the beginning – I couldn’t stop laughing – that man takes himself incredibly seriously.”

It was when he got to the phrase “heritage ideas” that I started cracking up – that and the music underscore.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Richard Wirth] “I’ve been looking at KiPro Rack but I’m curious to know if anyone has any experience with both units. I’d like to get a fair comparison so I can avoid jumping out of the frying pan into the fire.”

We’ve been using the KiPro extensively in a studio configuration for 3 years – 5 camera studio shoots for PBS cooking shows. They work flawlessly.

They are also the only recorder that comes with control software so that an operator can specify clip names with extensive meta data simultaneously for multiple recorders and control those recorders remotely all from a single computer. I can’t imagine working in a studio without this type of setup and AJA is the only company that has it.

While I would like the option to record to MXF DNxHD, I would not give up the control software to get it. When you’re creating hundreds and sometimes thousands of clips, having meaningful and unique clip names instead of “SJGMXS003468MNJ” is fantastic.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Walter Soyka] “Have I said anything that’s factually incorrect, or are you just being contrary?”

I’ll give you 3 guesses.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

Thank you to all the cows and cowlettes.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf