John Baumchen
Forum Replies Created
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Report her activities to the Kickstarter, it might be a way to stop her.
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Unless U.S. Copyright law has changed, the absence of a “specific” clause that says the job is a work for hire, all rights go to the creator. If there is no contract, then there can be no specific clause that states that the work is on a work for hire basis. The client has no rights to the footage, and unless I’m mistaken, if there are no distinguishing features on the lenses appearing on camera that one could easily associate with the manufacturer, then you only have footage of lenses.
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How did it turn out?
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the arc of the welder is a noise generator that is affecting your camera’s electronics. These generate HUGE amounts of EMI/RFI (electromagnetic interference/ radio frequency interference), close to the arc.
What is likely happening is that these EMI/RFI waves are passing thru the housing of your camera, hitting the copper traces on the printed wiring boards, (which act like antennas), and the EMI/RFI induces unwanted electrical currents into the camera circuitry, causing the noise problem you’re encountering.
One way to help reduce it is to move the camera farther away from the source, or get some phosphor-bronze mesh, wrap it around as much of the camera housing as possible, and ground it. This creates something of a Faraday Cage, (an RF shield), that should allow you to place the camera closer to the welding.
Cheers.
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A bit late in the reply, but I’d ask if your contracts with your suppliers include a clause that the project is a ‘Work for Hire’? If not, then the videographer owns the footage. It’s the same as if you were to have your portrait taken, the photographer owns the negative or digital original.
In fact, U.S. copyright law stipulates that in the absence of specific wording that a job is on a work for hire basis, the shooter owns the footage. The only thing wrong with giving it away is that you’re giving away revenue.
Cheers.
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I’d suggest that you try getting them together in the same room and explain how difficult it is for you when they give you conflicting tasks.
If that isn’t possible, always CC your responses to requests to both managers. If one comes in and verbally gives you direction, follow it up with an email to both.
Having one that shows your creativity that has been mentioned in previous posts is a great idea. Mark pretty well said it all.
As an absolute last resort, you might consider going over both their heads and ask for assistance from their boss, without making either of them look bad.
Best of luck to you.
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You should be able to open a CS5 project in CC, but most likely you won’t be able to edit it anymore in CS5.
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If you don’t itiemize it, you can’t deduct it. I used to N/C lots of stuff, and I deducted it off my income under marketing . Your call.
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$15/hour?!! If you’re going to charge Mickey D prices, don’t expect to make a decent living from video. You need to revamp your prices in a serious way. $120/hour would be a more acceptable rate for a professional.
As for rights, many on this forum feel like they have to prostrate themselves at the alter of getting the job. The fact is, the law of the land in the USA clearly states that in the absence of a specific agreement regarding “work for hire”, YOU own the footage. No if’s and’s or but’s. PERIOD. What that means is, unless you have a clause in your contract that SPECIFICALLY states that the work you’re doing is on a Work For Hire basis, you’re the sole owner of the footage. if you decide to work a WFH basis, you should charge double your standard rate, and I don’t mean $15/hr.
One of the things I love about this business is that it always presents a challenge. Don’t feel afraid to stretch yourself. On the other hand, if the subject matter conflicts with your personal beliefs, walk away. You’ll feel better about yourself in the long run.
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Thanks Tim, I’ll do some searching.
Cheers!