Mike Most -- account bouncing, bad address
Forum Replies Created
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It sounds to me like you’re creating the problem. If the clips you have are already in 24 frame format (you state that they are), you shouldn’t be doing any pulldown removal, because they don’t have pulldown. Just import them and drop them directly into a 24 frame comp. Even better, create the comp directly from the source footage (drop it on the “create a new composition” button at the bottom of the Project window) and the correct frame rate will already be applied, as well as the correct dimensions.
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If he was referring to network/cable dramas and sitcoms, and the vast majority of feature films, the statement is indeed accurate.
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It doesn’t affect it at all, because that’s the way it’s recorded. There is no such thing as a 24p standard definition video format. The Panasonic cameras all record in 60i if they’re standard definition. The 24 frame capture of the camera end of the camcorder is padded using a pulldown pattern (either 2:3:2:3 or 2:3:3:2 depending on whether you’ve set it in “standard” or “advanced” mode) to produce 60 fields.
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Arrested Development was shot on the Varicam for the first season only. Last season and the current season are on Sony equipment.
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>>If I wanted to see the varicam I’d watch a Fox TV show…
I don’t know of any network shows, Fox or otherwise, that are shot on the Varicam. There are a number of cable shows, though – American Chopper comes to mind.
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All you have to do to understand the gradual erosion in pay and available employment is look at the same culprit that is present in just about every industry in America today – consolidation. Fewer employers. Rampant cost cutting and job reductions. Basically, a gradual erosion of the middle class. But that’s a topic for sociology and political science, not the Cow.
As for the percentages, I was indeed referring to “network” production, basically shows aired on the 6 major networks (I think you really do have to count WB and UPN these days). I was referring primarily to scripted shows, although an awful lot of the reality shows are produced in Southern California as well. In fact, a good example of the post production percentage I quoted is the WB network , which currently has 3 shows shot elsewhere – Smallville (Vancouver), Everwood (Salt Lake City), and One Tree Hill (Wilmington, North Carolina) – but all three are posted in L.A. In the sitcom world, virtually every sitcom on the air is done in Los Angeles (the lone exception I can think of is Hope and Faith, which is done in New York). As for cable, some of the higher end production on networks like HBO and Showtime is done here (Six Feet Under, Entourage, Huff, and some others), and a larger percentage of programs on those channels are posted here (The Sopranos comes to mind). There are also a number of basic cable programs done here, including Monk, The Shield, Nip/Tuck, The Closer, and Over There – but many cable shows are indeed done in Canada (almost all the SciFi shows) and elsewhere.
The bottom line is that L.A. is still very much the center of television production, regardless of what you read or hear. The notion that it has “lost” any of that dominance is contrary to the facts. There are more shows produced in Los Angeles today than at any point in the medium’s history.
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>>LA ain’t all that anymore. A lot of production has moved away, and >>what’s left, reality shows, is lots of work for little $$$.
Over 90% of network television – and a good percentage of cable – is produced in Los Angeles, and probably 99% of network television is posted there.
It might be fun for you to think otherwise, but it’s just not true.
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Tony’s reply illustrates very well what I’ve been trying to say. If you want a lower rate than they normally charge, you need to give them a reason to let you have that rate. Since you can’t really promise them future business, you need to make it attractive to them to accommodate you – coming in at odd hours, working with junior colorists, paying in cash (although they’d probably ask for COD anyway, for a one-shot deal) – all of these things show you’re willing to accommodate their needs. That’s the way it should be, not the other way around – which is the way you were making it sound.
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>I was looking for a lab that would give me a great deal on Super16mm development and telecine. Guess >what! I found one
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>I’m from a planet called the working middle class. Creatively speaking, and otherwise, I try not to be >controlled by money (or lack of in this case). That’s hard for you to understand?
Quite frankly, yes. You can’t buy a Bentley if you only have $10,000. And you can’t buy a house in Malibu if you only have $150,000. And you can’t shoot on film if you can’t afford the processing and printing/transfer costs, regardless of how creative you think you are and regardless of how much you might want it.
What I find hard to understand is why you think you have some inalienable right to do this, or to demand that companies change their rates to allow you to.