Mike Smith
1
COW Coin
Forum Replies Created
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Beyond getting the terms right, you might want to think about how you can monitor / audit what sales actually are, to make sure both parties receive fair payment.
If you can’t arrange to handle sales directly and you don’t think there’ll be enough revenue to justify using a third-party fulfilment firm, might it be worth setting up a distinct trading name with bank account for distribution of this project? This could handle all advertising and sales, so that audit is easy, cheap, and doesn’t trigger resistance.
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Isn’t Media 100 still in the game? And Lightworks in the movie end? And aren’t Smoke prices falling …?
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What was the source (camera, recording format)?
https://gizmodo.com/gadgets/home-entertainment/blu+ray-output-downconverted-by-hollywood-149767.php
https://library.creativecow.net/articles/kolb_tim/formats.php
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If it wasn’t part of your contract, and the work is now completed, you could just say no. Or you could say yes, that will be $xx extra, I’ll get you a quote, and of course it won’t include 3rd party material like stock shots …
Additional clauses or requests wanted by the client after contract is agreed and in this case after the work is done would require your acceptance (or rejection), and there’s no reason not to charge.
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Is there a local IT tech who could extract the data from your grumbling original drive and clone it onto a new one for you …?
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Hey Timothy
Wonder if this is in relation to your Nasa crew – where you have some spectacular imagery and (it seems from the outside) story resources to work with ?
I’m not clear that motivating an in-house video crew is much different from motivating anyone else.
If they are valued and feel valued, if they are respected and feel respected, if they know what’s expected of them, have the training and talent to deliver that, and have their performance closely and fairly monitored and assessed so that they know that good work will be noticed, appreciated (and perhaps rewarded) – then you’re in a great position to ask for the effort and commitment you want and deserve, and to reach for sanctions if this isn’t forthcoming.
As the manager, how do you go about assessing the strengths and weaknesses of each team / crew member, playing to their strengths while meeting organizational goals?
How do you assess their individual career goals and training needs, and make sure that your organization provides valued and appropriate pathways for people to develop their careers?
How do you recognize and reward exceptional performance?
If the team as it stands is not meeting organizational goals, how do you restructure so that in future it does?
As markets, technology and practices elsewhere change, how does the team keep aware of what’s happening outside and plan and execute whatever responses it feels are needed?
How does the mission and purpose of the team fit with the bigger vision, goals and needs of its host organization – does the team keep this bigger picture in mind in its planning and in day to day activities ..?
All of these might be challenges faced by any manager with any team …
On a specific creative services level of course, there are always issues of professionalism and customer service to balance up. To what extent does the team “give them exactly what they want”, and to what extent does it attempt to inject professional skills, disciplines and input that internal, talented and professional customers may not at all welcome?
These are not always easy questions to answer. But if your talented and trained professionals (if they are not, why do you have them?) are being expected to wipe noses, hold hands, do menial, stupid or unnecessary things or accept poor treatment and lack of respect from their customers, then no amount of “motivation” is going to keep them happy for long. The good ones will go. How do you, as manager, protect them from such internal ill-treatment – fight their corner, and let them see you fighting it ..?
One last thought: I’m sure there isn’t, but could it be interpreted from your posting that there’s a touch of ageism at work here? None of these motivational factors vary much with age …
Hope it works out.
The cialdini book I rate highly.
https://www.hypnosis-and-health.com/influence.html
https://ollie.dcccd.edu/mgmt1374/book_contents/4directing/motivatg/motivate.htm -
Interesting. I know we’re checking basics here, but there’s no noise in the shadows on your background before keying …?
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In the mask settings, how are your black clip (and white clip) settings …? You can check them of course by selecting mask rather than final output in the display drop-down ..
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Here in the UK, Mac / FCP edit stations range all the way from excellent, well equipped, well supported broadcast and HD capable systems with a range of decks, good monitoring, regular maintenance and top editors through to domestic nearly-works editing. The rates vary accordingly.
And the UK is not really “one market” in that sense – there’s are big differences according to geography, even within the high-end / broadcast sector of the market.
So what rates you could command would depend on where in the spectrum of edit facilities you might fit, the geographical base of your possible customers (affecting the prices on their doorstep), and how you would get around or discount for the inconveniences of remote editing.
And of course rate card rates are sometimes negotiable.
All that said, do you trust your “buddies” to play straight? If there’s no profit on it for them in promoting your services, then they probably won’t. Adding an agent between client and edit facility doesn’t seem likely to make things better and easier for either customer or for you …!