Malcolm Matusky
Forum Replies Created
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Ok, that makes sense. At this point in time should I dump the Q4000 and go with a low end firepro for 10 bit gui and another Radeon card for GPU processing, or just get a Nvidia card like the GTX 680 to replace my second Q4000?
Thanks’
Malcolm
Malcolm
http://www.malcolmproductions.com -
https://www.mediaworkstations.net/
Call these guys, a friend of mine went to them, but decided to go the New Mac Pro route, at least they are knowledgeable about what you are trying to accomplish.
Good Luck
Malcolm
http://www.malcolmproductions.com -
Are you running the Radeon and the Quadro on the same system? I am looking to update my second card as my system is running a little slow on playback with Vegas and Resolve, the second Quadro was an improvement, but not enough. Do you think I would be better off getting a GTX690 or replacing both Nvidia cards for one AMD workstation card for 10 bit GUI and a faster gaming card for playback/rendering acceleration?
Regards,
Malcolm
Malcolm
http://www.malcolmproductions.com -
I have a C100, and use a loupe on the rear screen, or an eyecup on the VF, that is the only way to punch in and show a magnified view for focusing. I have a Ninja Blade as well, great monitor and recorder, but you loose the ability to magnify the image, there is a contrast focusing setting using false color on the Blade that is helpful, I also bought a “Grid” 5″ loupe for the Blade, have not had time to install it yet.
Malcolm
http://www.malcolmproductions.com -
That is exactly what has happened to me. That’s why I no longer do it.
Malcolm
http://www.malcolmproductions.com -
Sending a scratch mix to the C300 with a low cost wireless mic kit is a good inexpensive solution if your recorder does not have TC. Then Plural Eyes can easily synch the shots for you. I have a Tascam DR680 that is able to mix down all six tracks to one channel and I take that to my C100 by cable or wireless, with a backup mic on Ch1 scratch mix on 2; works for me, no TC gear needed and is a low cost solution.
Malcolm
http://www.malcolmproductions.com -
For producing industrials I give a package price, no line item. They either like it or go with someone else. I spend more on intent and scope of work than a line item budget, that is usually where clients get “confused” that their $10k industrial does not look like a $250k commercial. People in other lines of work really do not know how much it costs to make something look like a movie or TV show, but that’s what they want, but affordable! (cheap).
I don’t work for ad agencies, so I don’t use their forms or procedures for line itemizing everthing, which is BS anyway because they always want more than they pay for!
If I’m asked for a lot of detail I charge a fee to do the clients work for them as I’m now working as a production manager and not a producer, they will obviously shop the entire job around and go with the lowest bidder on each segment. If I get a decent day rate for putting a budget together for them, fine otherwise I pass.
As usual this “business” depends upon whom you call and how desperate people are at the moment. Having worked in NYC, California and now Arizona, I have never seen any aspect of this industry as well organized as attorneys, physicians or plumbers.
Malcolm
http://www.malcolmproductions.com -
I presume you had no contract, that is why there is a question about who pays. If you rent a camera and it breaks, the rental company will not reimburse you for the re-shoot, it’s the producers responsibility. If a “DIT” destroys your footage on set, you cannot get the DIT to pay for a re-shoot, it’s the producers responsibility. If someone get hit by a falling light, it’s the producers responsibility. If the producer was too cheap to buy insurance, or hire competent people, any liability on set is his responsibility.
The producer may elect not to pay wages or rental fees, but usually (when there is a contract) he cannot “charge back” problems that occur on his production, that’s what being a “producer” is all about, you own the production and you own all the problems. Vendors a labor do not share in profits, they also do not share in liabilities unless a judge rules that gross negligence was a factor.
https://www.latimes.com/entertainment/envelope/cotown/la-et-ct-sarah-jones-death-midnight-rider-20140704-story.html
“A Georgia grand jury on Thursday indicted film producers Randall Miller, Jody Savin and Jay Sedrish on charges of involuntary manslaughter and criminal trespass in connection with the February death of 27-year-old camera assistant Sarah Jones.”When you are “in charge” you are also liable for all issues related to the production of a film.
So who’s going to pay? For $280, you are. Lesson learned, and you were not sued, so you got away cheap. When I do “low budget” work, I offer NO GUARANTEES, because if I am not making a profit, I will suffer no losses. If your camera was destroyed on set, do you think the “producer” would compensate you? Fat chance!
When I get my rate, I guarantee performance, if the gear craps out, I offer a re-shoot on my dime (but only for me and my rig) if it’s a big production the producer has to pay for production insurance, otherwise he’s SOL for any other costs. I always consider risk mitigation, each job has expected liabilities, being a professional is to know in advance what they are and to charge accordingly or take steps to insure they do not happen. When problems arise it’s because the client/producer/ etc is too inexperienced (stupid/cheap) to listen to me, at that point I have to take a risk or walk away,(I have walked away from a few jobs over the years and never look back) each job is different and only you can determine the risk/benefit to your business.
Best of luck on the next one.
M
Malcolm
http://www.malcolmproductions.com -
Get a raid with 6 or more drives to up the throughput speed.
Malcolm
http://www.malcolmproductions.com -
https://filmmakeriq.com/2010/08/ultimate-filmmakers-guide-to-film-noir/
To achieve this “look” you have to shoot it that way to start with, not just lay a digital “look” over your footage.
M
Malcolm
http://www.malcolmproductions.com