Jonathan Ziegler
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Do you have your file set to CMYK or RGB? If it’s set to CMYK, it will adjust RGB values to fit into the CMYK gamut.
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
There’s a small dropdown on the swatches palette. Looks like you have a base set. In the dropdown, pick “Open Swatch Library” and choose whatever you want. Just keep adding all you want. 🙂
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
So to clarify: mom signed the release for the girls and herself, but dad didn’t sign?
First off: never start shooting until ALL releases are signed. If someone refuses to sign, ask them to leave the set so they don’t accidentally wind up on camera – explain that they must sign if they want to remain on set or in the area (post signs explaining there are cameras and they will be on camera, too). Also, I sincerely doubt it would prevent them from making other deals: the dad doesn’t know what he’s talking about or he’s trying to get money out of the deal (unless your release is asking for all rights to the girls’ likenesses from now until the end of time for any possible, conceivable use, including unrelated productions).
I don’t even turn the cameras on or take them out of their cases until everything is signed. I send copies of the forms to everyone beforehand so they can get them to their lawyers. I also use a modified version of the Getty stock release (it grants all rights to the shooter, includes a third-party witness, specifies consideration to be paid (money or a trade of , and holds up for international work, too).
Also, if the dad doesn’t want to sign, just cut him. Unless he’s revoked the girls’ permissions, you can still use them.
Finally, talk to a lawyer. The time you spend here asking non-lawyers is just spinning your wheels. Lawyers aren’t that expensive compared to a lawsuit or lost income due to legal matters. I consider attorneys a necessary part of my business and a budgeted expense.
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
Well, the musicians generally know their own work pretty well and will be able to keep up tempo (most musicians who do any type of live music deal with varying beats and tempos all the time, including speeding it way the heck up). We went over this internally before shooting. Finally, we just asked the musicians and they were willing to try it – we had 4 versions in case 2.5x was too much (normal, 1.5, 2x, and 2.5x). Turns out, it worked really well at 2x, shot at 60fps and final at 30. 2x or 2.5x isn’t that fast unless you have music at 200bpm to start with. Even then, just try it – don’t over think it. Maybe even numbers are just easier for our brains? Dunno.
50 doesn’t convert well for the audio down to 24 is all. Maybe if you could shoot at 48fps, but not many cameras do that. Like you said, it would be 2.08 going from 50fps to 24. The music might be dead on, but I’ll bet the musicians’ cues aren’t that dead on at 2.08x normal speed (they have to find a comfortable tempo). It’s asking a lot of precision from a process that isn’t that precise. This is why you don’t do the whole video using the effect: for one, it’s gonna get old fast (a couple clips are artsy, a whole bunch are overkill and will feel gimmicky), for 2, the musicians won’t likely be able to keep it up for a whole take so you shoot what you can and reshoot to pick up only the key stuff. Fill in the rest with various B-Roll or other related ideas. We found most cues got missed after no more than a minute or so at 2x. Even with ones who knew their music really well.
Please post the results. I don’t care if I’m wrong, really. Try it, see what happens. Keep shooting. 🙂
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
Hey there, I’ve used this method before and yes that is correct. However, shooting at 50 and converting to 24 isn’t as easy as shooting at 60 and converting to 24 (just a matter of even numbers. The idea isn’t to shoot the entire video at that speed or, if that’s what you plan, expect to stop and retake several times. Basically, the musicians can do it for a minute or 2 then they goof up and you cut and then retake. Took us several takes last time and we just intercut with b-roll and other footage. Besides, the effect isn’t effective if the whole video is done that way. Only in parts. Lends to the artsy nature of that type of shooting, too.
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
I personally find it annoying. I disable all auto features when shooting. Focus hunting also seems like I don’t know what I’m shooting: subject a or b… I can’t decide. Good for particular effects, but not a “use all the time” thing.
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
Talk to the pome inter and find out what they need. Billboards are typically much lower resolution than print (as high as 150dpi). Make sure you’re in 8-bit mode so you can save your file as a psd – i’d do the layout in Indesign though.
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
It looks like it’s culled from a few different photos and comped with some 3D and other elements in photoshop. The high key/high pass look can be faked pretty easily or shot as HDR in camera. My guess anyhow – based on the type of lighting apparently available versus what’s shown and how the relevant subjects appear to be lit – also the shadows have been edited . Those are my first impressions. Some of this may also be from stock footage. I could be totally wrong, too. 😉
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
It depends on you, really: with $9k, I’d say rent everything. It allows you to work with multiple cameras for various uses and if you find one you consistently rent, hopefully you’ve made enough money to buy it. 🙂 Find a good rental house and ask around too. They want your business for the long run so they’ll help where they can. As you build your skills, some things are better bought and some better rented.
Also, most production places I’ve worked with rent cameras, lights, gear, stands, electrical and the like for their projects. When the project is all done, everything just goes back to the rental houses. They keep all the cards on multiple disks and backups which go out to be edited at the base of operations in wherever and the crew go home. It seems to work for them since each project is a sort of ad hoc solution and needs are different each time. You’ll figure out the type of gear you like to have around for each situation. You’ll learn to price equipment rentals into your estimates – they’re usually posted on the websites, too.
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Jonathan Ziegler
http://www.electrictiger.com
520-360-8293 -
When you’re just starting out, don’t buy a ton of stuff. Rent. Rent. Rent. It’s cheaper in the short run and you don’t have to worry about storing and maintaining equipment – let the rental company worry about that. Save the $ for insurance, software, consumables, taxes/licenses, office supplies, Costco memberships, legal/accounting, etc. Consider the Adobe CC route for software: $50 a month for access to Adobe’s entire collection, including Premier and After Effects ($600 a year, I’m so glad Adobe finally started offering subscriptions as their products just got considerably cheaper: $600 a year instead of nearly $3k every 2 years for me). Rental companies want you to either have insurance or provide a deposit or both so your spare cash can go there. Also, if you spend all your cash on equipment, you have nothing for hard costs, marketing/advertising, consumables, etc. Don’t forget, that laptop will become obsolete sooner than you think and you have to either replace it or upgrade. Consider a more robust machine for home/office, too (I even like the iMac with an i7). Also, unless you already have a network of paying clients, you will need to spend lots of time working your sales for the long term (repeat business, solid referrals, etc.).
Good luck!
Save early. Save often.
Jonathan Ziegler
http://www.electrictiger.com
520-360-8293