[Matthew Radcliff]

Forrest, as far as I understand it, you wouldn’t click on “aerender.” That is an executable that you run from the command line (through the Terminal utility, for instance). The flags and settings are all described in the article that Todd linked to above. You can also type “./aerender -help” and get an output in the Terminal window.

For instance, “./aerender -proj myProject.aep” will render the comps in the queue in the After Effects project called myProject.aep

When you double-click aerender, it is the same as typing “./aerender” in the Terminal. Since you aren’t telling it what to render, it starts up and finds no input, so it then exits the program.

[Matthew Radcliff]

Forrest,

it sounds like either you are not in the correct folder to run aerender, or you are not calling the file correctly. Go to the folder where you have AE installed, and double check by looking for aerender in that directory. If it is there, then type in “./aerender -version” and it should return a line with the version of AE you have.

Best of luck,
Matt

[Matthew Radcliff]

Steve’s got the best idea here. This is the same technique that a classic Hollywood director used with the studio producers. (I can’t remember his name, though he’s well-known and respected). Whenever the producer would show up on set the director would shut down production and talk with the producer, so he could “devote himself to the producer’s questions and comfort” exclusively. The chat would be pleasant and the director was 100% engaged and attentive. It wouldn’t take long before the producer would realize that nothing was happening, and that nothing would happen until he left.

The key, obviously, is to do this in a calm and positive manner, and not in a petulant passive-aggressive manner. Because then the producer (or supervisor) will think you’re the problem, not himself.

Best of luck,
Matt

[Matthew Radcliff]

I’ll send in a vote for the Sonys — I’ve got the 7505, the same model but they fold up smaller. They sound great.

One caveat about comfort — sometimes I wear eyeglasses, and these headphones can squish my glasses into my ears. If you wear glasses, test how they feel on you.

Matt

[Matthew Radcliff]

Wow grinner,

Toilet paper? Talk about a client who needs a lot of hand-holding….

have a good weekend!

MRR

[Matthew Radcliff]

Nick,

thanks for your advice, and you’re right — I’ve spent more on paper for my printer and photocopier this year than on the SAG pension payment. I’m mostly trying to educate myself for future projects. What I’ve learned — use a paymaster.

And I should say thanks for your “12 Things I Know Now” article a while back. I was just beginning my professional video career and appreciated your words of wisdom on prices and keeping good relations with your vendors. And having that advice come from a fellow Marylander was cool!

Thanks,
Matthew Radcliff

[Matthew Radcliff]

Mark, I understand you’re reluctance (and quite possibility your ability) to pay upfront. That’s the same boat I was (and still am) in myself. The author I worked with was also excited, but in the end wouldn’t give me the rights now in exchange for money later. I wish you better luck!

I think I mis-understood your position. Are you only planning on writing the screenplay but not making/producing the film? My answer was from the perspective of a producer (including a writer-producer) interested in adapting a novel. In that case, the producer would hire a writer to do the adaptation, or do it herself.

In the end, someone needs to buy the motion picture rights from the author. That doesn’t need to be you — there is no law (as far as I can tell) against writing a screen adaptation of a book without the author’s permission or consent. Making that screnplay into a movie, or even publishing that screenplay, is when you need the rights. Whoever makes the movie needs to acquire the rights.

It may (or may not) help you sell your script if you also have the right to make the film; transfering the rights to another party were included in all of the sample option agreements I looked at. This way the producer doesn’t need to negotiate with you for buying the script AND negotiate with the author for the rights to the book. In my opinion, this is where the author would be getting paid.

I’ve been told that producers will pay more for a script since they don’t have to turn around and hire a writer. But it is always wise to be realistic –or even pessimistic– about how big of a deal to expect for a script. That will most likely be calculated as a percentage of the production budget, with portions of the payment coming when the film is finished. Then, based on that estimate and the income tax and self-employment tax you would pay, you can decide what percent you would send back to the author.

All of that being said, to try and answer your question simply — and this is my limit — I wouldn’t offer the author more than 10% of your deal. You may think it’s too low, but it depends on how much you really want to adapt this book as opposed to something else. Plus, you can always negotiate up!

Best,
Matthew

[Matthew Radcliff]

Mark, definitely you’re offering too much to the author. I just finished going through this myself so I’ll list what I found to be the “standard” percentages. I should point out that the author I was working with didn’t like my offer, and the project never got off the ground. So take it all with a grain of salt, and remember that there are always exceptions to every rule.

Typical fees for purchasing the rights to a book are 1-3% of the production budget. Often the production budget has not been worked out at this stage, so establish a minimum (floor) and maximum (ceiling) amount, and pay the minimum until the budget is set. Then pay the rest.

After production, it seems to be typical for the book’s author to get 5% of the net profit from the movie. The option agreements that I looked at also include the right to make any sequels to or TV series based on the movie. The rates were roughly half for the first sequel, and then one-third for the second sequel. Further, the agreements included the right of first refusal to any author-written sequels to the book.

Before optioning the book, it is common to purchase the “option rights” which was essentially a deposit on the rights. You are buying the option to buy the rights at a later time when you have the money (e.g., after getting the greenlight from a studio or your independently wealthy aunt). This number varies widely, depending on how popular the book is, or how much the author wants you to have the rights. My memory is that 10% of the purchase price is a typical “down-payment.” Sometimes it is the ever popular “one dollar and other good and valuable consideration,” which is a way to formalize a handshake agreement. You give the author a dollar, and promise to purchase the rights later on, and in return the author promises not to sell them to anyone else.

There are a number of books at your neighborhood bookstore with info and sample documents. One is “The Independent Film Producer’s Survival Guide.” That’s on the shelf in front of my face right now…

Good luck,
Matt Radcliff

[Matthew Radcliff]

Sorry to be jumping into this thread so long after everyone else, but I’ve been behind on my COW reading.

This doesn’t likely apply to Jesus Ali’s situation, but there is another big difference between the Kona3 and the Io HD that hasn’t been mentioned: the IoHD requires FCP 6 but the Kona3 does not. Is that right? I’ve been looking at the two systems anyway, as I plot out upgrades to my system. I’m still in the early years, so paying rent gets top priority with my income, rather than upgrades to the software.

Matt R