Malcolm Matusky
Forum Replies Created
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With out a written contract, properly executed, you are in a very difficult situation. Do you have any other leverage over the offender?
As the project “aired” it seems as though you are stuck, you can contact a lawyer, but without a contract you probably will not be able to go to court, so your legal remedies are non-existent unless you can “prove” that money is owed.
A letter to PBS may be useful, it is possible to “shame” a non-payer, by letting their clients know their behavior, don’t’ lie or exaggerate your claim, just lay out the facts.
Do you know any other vendor that does business with this person? Write them a letter as well stating your situation.
“camping out” at their office is trespass, they can call the cops on you. So this may not be as effective as you may wish.
Contracts are only worth something if you are willing to pay for an attorney and go to court, most low-life clients know this and will screw you anyway if the legal costs are less than your bill.
The only real protection is to retain masters till payment in full, only release materials with time code burned into the image or a blur filter applied, that’s what I give out till the bill is paid in full, and also have a “contract” but this is no where as valuable as keeping the work in your control till paid in full. With some “clients” this means cash, not a check.
Good luck, and if the bill is not too steep, just let it go and move on to better clients and tighter financial controls on your side to prevent this from happening again.
Malcolm
http://www.malcolmproductions.com -
For what I do, SD is long gone!
With an IPS panel, do you profile it for sRGB, RGB, or rec.709? or all three depending upon what you are doing? Your panel is close to Adobe RGB 1998, would a sRGB IPS panel suffice for most video work?
From reading many posts, and articles on color management for NLE, not print work, many are advocating feeding a signal to a HDTV with a non-computer (dvi) connection as they say the “signal” is processed differently that way and is closer to what the consumer would see, so that’s how they are grading their work (non-SD)I used to work in a post facility, many years ago, all analog gear, SD, so this makes sense to me, but…
All a bit confusing, as there is no real discussion of this within the manual for VP11, every software package could be considered a “filter” in analog-speak. I have been running a color managed system for photoshop since 5.5, so I have an understanding of how color management works for print. This does not seem to be as obvious in NLE’s, or am I missing something?
I appreciate your input as you are running VP11 as well and I’m trying to get a reasonably (affordable) workflow implemented for non-broadcast work. The few times I made a DVD, there was a noticeable difference in color and density, so this is something that I would like to have a better understanding of and control over. For print work, there is a “soft proofing” method that works reasonably well, but this does not seem to be the case with NLE’s.
Thanks
M
Malcolm
http://www.malcolmproductions.com -
Thank’s John,
Are you grading your work for web delivery or REC.709? The monitors you are running look great for web, but would you use another method for grading REC.709 for Blueray/dvd delivery?
Regards,
M
Malcolm
http://www.malcolmproductions.com -
https://www.curtpalme.com/ChromaPure.shtm
Does anyone have experience with products like this? Looks interesting for calibrating HDTV display.
M
Malcolm
http://www.malcolmproductions.com -
https://forums.creativecow.net/thread/223/18184#18340
Interesting thread on color.
Malcolm
http://www.malcolmproductions.com -
I recently downloaded dispcalGUI with Argyll to test with my Spyder3; there are options for rec.709 & sRGB profiles, very time consuming package to create a calibration but making profiles is short. The first calibration took 2 hours! Profiles under 5 minutes.
Do the profiles effectively create a “soft proof”? for REC.709, not enough documentation, that I have found, yet to answer my question.
This software has many more parameters than the DataColor package that I have, interesting package.
M
Malcolm
http://www.malcolmproductions.com -
I have one display on my VP11 system and am thinking of getting another, I have a dual head graphics card, but would I be better off getting a HDTV and a blackmagic card to feed component in through an HDMI port to give me a more “video”look than a computer display?
I make industrial films, no broadcast, so I’m not in the market for a broadcast reference monitor. I can either get another computer panel, IPS etc, or go with a HDTV roughly the same size. Most of my work goes to the web, so I have been OK to date with the sRGB panel I have, calibrated with a Spyder3 to sRGB for internet delivery.
What are my options (on the low end financially) another slightly better quality computer display ISP etc to get closer to RGB/NTSC, or a HDTV with a $200 blackmagic box. Or is there a way to “soft proof” REC.709 on a computer display?
Color management and displays seem to be a bit of alchemy and science from all the post I have read recently.
Thanks’
Malcolm
Malcolm
http://www.malcolmproductions.com -
I could not render anything in a new install of VP11, did a reinstall with deleting all the downloaded codecs and now it works fine.
M
Malcolm
http://www.malcolmproductions.com -
I went from 9 to 11 and initially had problems, had to install it 2x, due to rendering issues. Now I’m OK, but was very disappointed with the Stabilizer plug in, waiting for NewBluefx to update theirs for VP11. Fortunately my graphics card was OK with the first update.
So far so good, 9 was the first version I have used with Vegas and I’m glad it was stable while I was learning to use the program.
M
Malcolm
http://www.malcolmproductions.com