Jim Lillis
Forum Replies Created
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Opps,
Forgot to ad in the Sony Vegas Pro editing.
If it moves . . . Shoot it!
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Using a 9x pro
If it moves . . . Shoot it!
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Pardon the intrusion here, I know this is an older thread, but for my fyi…
Isn’t 16 = to 7.5 IRE ?
If it moves . . . Shoot it!
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Thanks for the reply John, and I think you’re on the money with this. This is where my thoughts have been, to just build out the hardware and go to 64bit. Did you use 9x in 64 bit, and was it stable?
From what I’ve been reading in the threads here, it seems that 13x may not be a real good move for me. But rather finding a legal 10x, 11x, or 12x version to upgrade to for now might be the way to go.
I’ve never been unhappy with 9x, and knowing that eventually there will be an upgrade to some newer version of Vegas, I’m thinking that I’ll just stick my money into the hardware to support the 64bit version of 9x (or other version) until there’s a real good reason to move up to the latest / greatest version of the software.
Thanks again.
If it moves . . . Shoot it!
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Quick question on this subject: (even though it’s an old one)
I’ve heard that there may not be much of an increase in anything moving to a WIN7x version.
Was the 9x version installed on a 32 bit or 64 bit version of Windows 7?
Looking at moving onto an HP workstation and not sure about going to 64 bit OS at this time.
And, if it works on 32 bit will there be much of an increase in _anything_ by going to the last 32 bit version of Vegas?
Thanks.
If it moves . . . Shoot it!
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Theater lighting vs Television lighting.
New lighting director?
If it moves . . . Shoot it!
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Not that this is applicable to your camera, but I’ve heard more audio track hiss’ from HD camcorders in the past year than I ever heard with mic cords and the likes on older gear.
I’m starting to think that the MFG have severe problems making this recording medium noise free. Kind of reminds me of days gone by before Dolby was introduced in it’s various forms.
If it moves . . . Shoot it!
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Contract should reflect what your bid on that contract outlined.
This would fall under our “Objectives & Goals” section.
One of the final paragraphs states unequivocally that any/all variances from the Objectives / Goals portion of the contract will incur additional costs at cost + 10%.
Clients squirm every now n then, but the “creative director” of the firm we’re working for seems to be the only one who takes the heat for ruining the “bottom line” of the production.
If it moves . . . Shoot it!
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Probably the best reply to date.
For many years I ran 4 annual trips to the west coast for production, and those trips landed me out of touch for about 1 month at a time. To say the least, my days were 3x longer than my clients.
Rule #1 for me, never (did I say that clearly enough) NEVER conduct outside business while working on the production site.
Rule #2 for me, never (did I say this loud enough) NEVER break rule #1.I’ve had many a deal made while on breaks, evening, early morning though. And, I might say, some rather substantial multi-cam shoots sealed by a phone call while out on location.
Unless a client is willing to post costs to you for your away time, give your best shot to the client while on site, and once business is done for the day on the set, conduct your business for tomorrow.
Day rate on site, (every day) 1.5x rate for Sundays & Holidays.. (never NEVER mingle social time while on site)
1/2 Day rate for travel time.Any / All ad-ons become the financial responsibility of the client.
Hope you stick to your business decisions.
If it moves . . . Shoot it!
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After many decades in the production business, I found that by completing the full circle of production/air-time buys, I had less %’s to worry about.
Produce the commercial with us, buy the air-time with/through us, everyone comes out as a winner then.
Do the math.
A 15% buy commission can do what to your production costs?If it moves . . . Shoot it!