Michael Munkittrick
1
COW Coin
Forum Replies Created
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Yeah, I actually did that first. I even searched the archives, but I realize that there are some folks who just like what they like at a given time because of recent work or just because they found new and exciting uses. I can see why it might drive you guys crazy though. I meant no disrespect. I just wanted to see what was on the minds of the masses.
We should have a forum for “the hot new thing” made by folks who find new uses for old tools or just find interesting trinkets along the way.
All my best…
Michael Munkittrick
Gainesville, Florida USA -
I just got an email about my original post being relocated, so I apologize for my repost. I would however like to get the view of my peers who are more than likely at, or beyond my own skillset as opposed to those getting a grasp on After Effects.
Thanks again…
Michael Munkittrick
Gainesville, Florida USA -
I just got an email about my original post being relocated, so I apologize for my repost. I would however like to get the view of my peers who are more than likely at, or beyond my own skillset as opposed to those getting a grasp on After Effects.
Thanks again…
Michael Munkittrick
Gainesville, Florida USA -
I recall there being one on the DGA or Writer’s Guild site somewhere.
It gave all the normal stuff, but here’s what we provide.
1. client name
2. spot title
3. total run time
4. producer’s name
5. director’s name,
6. audio structure (IE, left and right channel stereo, mono-mixed, etc.)
7. the obligatory contact information
8. a breakdown of the content (IE, :30 of bars & tone, :30 slate, :10 identification, :10 countdown and :30 spot followed by :15 of black).This is what we have always supplied and we have NEVER been asked to provide more. In fact, I noticed at least one of our prefered outlets suggesting our format to another production studio…so it must be meeting their requirements. Some might see this as overkill, but being ahead of the curve has its benefits.
Michael Munkittrick
Gainesville, Florida USA -
Thanks guys, but I appear to have posted this in the wrong forum. I am one of the hosts of the Magic Bullet Suite plugins at the COW and I love it, and I’ve owned the Trapcode suite for about two years now with the exception of the Echospace and one, maybe two others that I just don’t use all that much. And on a side note, I just bought CD4 last month with the advanced render plugin. I was debating the Maxwell Render or Final Render 2 suite for some of my higher-end work, but I’m still getting my footing after being out of 3D for so long.
Thanks again.
Michael Munkittrick
Gainesville, Florida USA -
Generally speaking, if your footage was shot on public land, be it owned by the city or a branch of the government and so long as it is not deemed private property, there are no grounds that would be sufficient to support a lawsuit against you. In fact, legal recourse would be a waste of the lady’s time, but if she wants to dance
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Okay, if you’ve got a good reel put together, place it and a breakdown of a comparable estimate for a few projects that you have done. If they are looking for associative values, this would be the most effective way of showing a cost-per-shot layout without defining any rock-hard figures.
Also, you could certainly do preset prices for on-camera interviews with intercut footage so long as there are defined limitations to your agreement. However, even with that said, I wholeheartedly believe that putting the dollars and cents on the table make negotiations more complex than doing each job a per necessary with the cost being very closely relegated to the exact specifications that all parties expect.
Finally, there’s no shame in not being certain about the cost for a job without defined terms. The sad thing is that you, more often than not will not be in the position to define those terms after the point of pitching a “generic package”. While you may be very, very gifted and the artist may be incredibly easy to work with, the deal, as it were is between you and the promoter/CD-packager. That is a difficult place to be with the idea of predefined values.
Good luck with the project.
Michael Munkittrick
Gainesville, Florida USA -
[Ron Lindeboom] “I don’t think that people are suggesting fixed prices set in stone that do not allow for any kind of flexibility.”
Of course not as it would prove lethal to almost any creative business plan. My statement is that defining a platform for negotiation by saying “I’ll shoot up to one hour of video, edit three hours, do 20 boards and 50 titles for “X” amount of dollars” is not a favorable stance for creative services companies (or individuals) to start from.
[Ron Lindeboom] “Anyone who goes into a job without clearly defined limits that spell out how much for how much, is asking for trouble.”
Here here! I am of the mind that making a set priced package offering with respect to this type of work will prove to be a loosing scenario for both the musician and the producer. I don’t deny that an assembled package might give a decent place from which to start, but the reality of this exact type of work is very easily thrown under the bus when
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There are a few generally accepted names, but most often they are called diffusers, silks or screens. I suppose that technically they should be called diffusers, but that implies that they aren
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Personally, I disagree with the “standard package” idea as it puts you in a position where you