[Mark Suszko]

I’d still use Lightwave for 3-d animation, if I had the money and access. I think you meant LightWorks, though:-)

[Mark Suszko]

No idea until I see the room or at least a drawing.

[Mark Suszko]

Sounds like it might work. You won’t be starting completely from scratch but I imagine a good deal of the work, including the timing, will have to be re-done to almost that point. Keepingg the groups distinct and well-labeled will help.

If you use image wells and drop-zones, it could maybe be simpler.

I know you can drive behaviors by audio amplitudes, but really the more elegant way you’d want to do something like this is by audio frequency, however I have no idea if you can do that in Motion; I’ve only ever worked with audio amplitudes to drive an effect. Which I guess is why you need that many tracks.

Sounds like a cool project – hope you post a link to the finished versions.

[Mark Suszko]

Regarding string-outs, versus the preferred method of pre-prep of assets… when I cut news in FCPX, I never have this luxury. Just isn’t any time to do it “clean” like that. So my workflow sort of regresses, you could call it, I guess.

[Mark Suszko]

I think it demonstrates that it’s ultimately about the artist, and not the tool. How many NLE’s can claim they are used by Walter Murch, after all. I think he’s cut on them all, and they’ve all advertised themselves as his favorite at one time or another. It’s not so much what he cuts on, but how he does it. Same with Thelma. I have no idea what she cuts with. It’s her eye, her hear, her timing that matters, and the tool is just a means of that expression. Is the tool easy and pleasant to use and powerful? Good. But let’s not kid ourselves that any one particular tool is ever going to be the ultimate one.

[Mark Suszko]

I think the sales department at the network or station will have something to say about this. The criteria are different for PBS and commercial broadcast, and what PBS will do to a doc shown in the “pledge drive” time slots can be… brutal.

[Mark Suszko]

Quote:

But I know that going in… and can budget accordingly (and charge them enough to make the delay worth it).

I call this the &$^SS tax, and that particular markup would definitely be in my budget for the big customer that says they pay wheever they get around to it, like it or lump it.

The advantage of the &$^SS tax is it is not itemized, comes before the total, and is not subject to usury laws, only what you think the customer will bear.

[Mark Suszko]

Hey, JPD, contact me offlist, got a lead on something, might be fun for you to shoot.

[Mark Suszko]

I think it’s less about 8k and maybe more about 3D in 4K?

When I got into 2K systems, the fun trick was being able to make fake zooms or punch-ins on projects that were outputting to SD resolution If you didn’t;t push it more than about 10-15 percent, you could get away with it..

When I got 4K capable systems, the same trick looked even better, punching-in some shots and doing false zoom, dolly and pan shots on deliverables output in 2k.

If I can shoot and edit 8K, this is wacky, and I wouldn’t normally do it unless the gimmick was the point, but, I could just leave that 8K lens on full-wide, and re-frame every sho and camera move later in post. Now, you and I would see the lack of parallax change, so that’s still not perfect. But, there are a couple of music videos that use this trick. The earliest one I know of was I think done by REM,

https://www.youtube.com/watch?v=0vqgdSsfqPs

But I saw one just last week that featured Jay and Silent Bob as background characters in some band’s video, based around a high overhead wide shot of some chaos happening outside in the parking lot of a convenience store. Their gimmick was, not only were they punching in and out of a wide master shot, the master shot was itself compositing the same band members doing different actions all over the frame, maybe ten or more different setups that all synched together. The higher starting resolution plus the heavy composing and probably some motion-controlled camera, combine to great effect.

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[Mark Suszko]

Ask yourself: is it any worse to turn down a gig where you don’t get paid on time, or ever, than to not do the work at all? I think it has to be better to starve while continuing to develop new contacts that WILL pay, versus tying up equipment and people doing something for nothing.

When you run a business, especially one where people work for you and depend on getting paid, you absolutely have to be a complete (redacted) of a person when it comes to the income. Crooks will try to play on your sympathy, on your humanity, on your ethics and values. Con men count on you falling into a trap of “sunk costs fallacy”, the same as gamblers: “I am already in this far, I can’t afford to back out now, the only way out is thru, even at a loss, next time this guy has to pay up front but we just have to roll with it this time…”

It’s a trick. And if you ever give that client another opportunity to do you over, you deserve everything you get, and the money you won’t get. Because you’ve rewarded them and told them by your actions that they were right and they can roll you and you can’t resist.

If you lose a gig because they wouldn’t agree to pay up front, CELEBRATE IT.

Because you dodged a bullet, and these shmucks are now going to go and roll one of your competitors, ruining THEIR income stream, tying-up THEIR gear and THEIR people. They did you a favor, they showed themselves for who the are, and they will now damage one of your competitors, while you remain free to find a new client that actually pays.

About once a year, I re-watch this guy’s presentation. He says it better than I can. Beware: he uses language that may not be suitable for your office. This is just the short intro, the rest of the detailed training can be found on YouTube as well if you use the title of the short clip in your search bar.

https://www.youtube.com/watch?v=oEa6PdOG2ts

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