[Nick Griffin]

First, let me point out something I neglected to mention in the earlier post: From what I remember of the agreement I signed, as a licensee of Killer Tracks we do not own the 800+ disks that make up our production music library. Killer Tracks owns the disks and they are on loan to my company because we use their music. I have to assume that if at any point we were to violate the agreement (ie.- use music without paying for it), I would receive a letter informing me that I was to return each and every one of their disks. Not a problem for us since with this and all other forms of stock media we play by the rules. It’s simpler — and cheaper — in the long run.

Tailese, I’m not sure what the current deal is to get a Killer library on a laser drop basis. I believe that our original cost was $600 for three libraries with 80% of that credited towards usage fees within the first year. People who use a lot of production music and studios who sub-license it to their clients usually have blanket deals wherein they pay $X,000 per year.

“Would you have invested in Killer Tracks when you were just starting out?”
This is the sort of thing we discuss frequently on the Biz and Marketing COW so my answer usually is don’t buy anything you don’t have to. The exceptions are things that you will use so frequently that it makes no sense to rent or borrow, Does production music fall into this category? Depends on what your other expenses are and how much of a pad you have set aside for your start-up.

If it were mine to do over I would call Killer Tracks and find out what their current deals are. Maybe you can get a single library for a commitment of a couple of hundred dollars, in which case your first use might cover the whole fee. Speaking of which, as we discuss at the Biz and Marketing COW, you should have a mark-up on production music and other similar expense items so you may even make money on your first use.

If I had to recommend just one for corporate it would be their “Network Music” library — lots of VERY corporate stuff and not much of the extraneous stuff I’m unlikely to ever use like heavy metal, latin, hip-hop, etc. which are part of several of their other libraries along with corporate, motivational, promos, etc. which we do use. Killer’s number in Los Angeles is 800-454-5537. My sales guy in New York is Claude Lewin 212-930-6608.

Hope this helps. Remember it is an alternate view to the earlier posts so don’t fail to examine all of your alternatives.

– – – – – – – – – – – – – – – – – – – – –
“Some people say that I’m superficial. But that’s just on the surface.”

[Nick Griffin]

Allow me to chime in with an opposite opinion.

While I am not familiar with the entire range of “royalty free” music available today, my opinion in the past has been that most of it is pretty mediocre. Granted this belief is colored by the fact that we’ve been using “laser drops” since the days when they were “needle drops.”

By being a fairly active customer of Killer Tracks we are able to have on hand approximately 800 CDs from 6 library collections — Killer, Killer Edge, NJJ, Atmosphere, Match & Network — with several new disks arriving monthly. After an initial deposit to get three of the libraries (which was credited toward usage fees) the only thing we pay for is usage. On a typical industrial show, under 10 minutes in length, with distribution via 500 or fewer copies our cost is $270.

That $270 is for a “blanket” which means we can combine and intercut from any of these libraries, in any manner we want. Intro from one into a bridge from another, cross-mixed to a narrative version (which means without the lead instruments fighting with the voice-over), punctuated by a sweep from one of the musical SFX disks, to an ending from an entirely different piece or disk.

Having the disks to go through is much faster than any of the internet-based services I’ve tried, but that’s not the primary reason we use Killer Tracks. That would be the quality of the music. The very last thing I need is music which is anything less than perfect. Killer’s libraries have great orchestrations, flawless performances, alternate versions, excellent cut points, a range of pre-edited lengths, and so on all from a variety of styles and types that allow me to cover just about anything which comes up. And what I ESPECIALLY can’t have is anything that sounds remotely like I did it myself or it’s just some highly repetitive loops strung together.

I have said this on COW posts in the past, and it bears repeating, great music and solid editing can almost always save mediocre video. Whether you want the audience to stand up and applaud or choke up and get out their wallets, the magic is in the music. Why would I ever settle for anything less than the best?

– – – – – – – – – – – – – – – – – – – – –
“Some people say that I’m superficial. But that’s just on the surface.”

[Nick Griffin]

I don’t know much about traditional airbrushing but I think you will be EXTREMELY satisfied with a Wacom tablet. I’ve had four of them ovr the past 15 years and when you need the control and dexterity of a tablet using a mouse is like… (what was the old saying?)… using a mouse is like attempting to draw with a brick.

There are so many ways in Photoshop to mask off an area you’re sure to find one that suits you perfectly. Just spend the time to learn more than one way to make selections so you’re making them as quickly and simply as possible. Sometimes manually drawing a mask with the pen tool is best. Other times it’s quickest to simply clone a channel into an Alpha channel and then adjust that channel’s curve or levels to create a mask. Sometimes it’s quickest to just draw the Alpha mask you want.

Best of luck and hope this is helpful.

– – – – – – – – – – – – – – – – – – – – –
“Some people say that I’m superficial. But that’s just on the surface.”

[Nick Griffin]

I always love it when companies approach titles with tongue planted firmly in cheek. So how ’bout:

Senior Cinematic Sorcerer

-or-

Wideo Vizard

-or-

Pixel Pusher, Third Level

-or-

Digital Black Belt

-or-

Victor over the Vectorscope

(Any wonder I’m self-employed?)

[Nick Griffin]

I agree with Mark (as usual). What are you trying to accomplish? From first reading I thought you were asking how to depict the video in PRINT with frame shots referenced along a timeline. Mark got the impression that you want to explain the video with additional video. Which is it?

[Nick Griffin]

Greg –
Why do you assume that you’ve done something wrong? Sounds more like you dodged an almost guaranteed grinder bullet. ESPECIALLY if the client has production experience and should know that 6 locations in 2 days is a bit extreme for anything more than “gun and run,” existing lighting shooting. And even then — 6 locations in 20 working hours?

I think you made the right call and the only difference I would suggest is having all the language presented up front, in the contract. When they perceived you as laying the groundwork for the additional work you’d already said it would take, they got scared. Frankly I think it’s a given that if their people cause a delay it’s their problem, not yours so I wouldn’t even have contract language to that effect.

If this had not been an obvious grinder the best sales approach would be to help them “evaluate” all of their production options. Give them the feeling that you want to do everything possible to help them get the most out of their show and their budget. Once you’ve built up trust it’s a whole lot easier for them to be talked into extra days. But c’mon! 12 to 16 people spread over 6 locations in 2 days?? They better hope that whoever they get to do this doesn’t get anywhere near any Kryptonite.

[Nick Griffin]

We use Schoenfeld Insurance as the agent for a full range of Property, Casualty, Auto, Workman’s Comp, etc. Our policy has a rider covering all of the gear whether its used in the field or studio-based. One issue in the past has been when taking stuff out of the country needing to add another short-term policy as the regular one only covers what we do inside the US.

Schoenfeld contact info is:

Schoenfeld Insurance
6225 Smith Avenue
Baltimore, MD 21209

410-602-2000

Hope this helps.

[Nick Griffin]

Fortunately I only use the 100% reverse occassionally. Mostly I’ve gotten into the habit on a shoot of taking difficult shots like zooming into a subject while panning to a specific point and doing the far simpler opposite move. Run it in reverse and viola! I’m a much better cameraman.

Oh well. Without the ability to have it look good in Media 100 it’s just one more thing to pop-over to AE to accomplish.

[Nick Griffin]

Steve Wargo wrote:
Going digital does not mean HD or 16×9. It only means “digital”.

Righto, Steve. In fact at one point the Sinclair chain of stations (mostly Fox and WB affiliates, I believe) floated the idea that instead of one HD channel they wanted to use the new bandwidth the FCC was assigning for four SD signals. We at least it means a LOT more need for graphics packages.

It would seem to me (but then I work in Industrials and Corporate — so what do I know) that with the proliferation of cable channels there may be more of them than there are local outlets without in house or parent corporation art departments. Like in most forms of marketing, determine how to cast a wide net and narrow your focus as opportunities identify themselves.

As a consumer, I for one would prefer a world with 100 high quality-programmed HD channels to one with 1000 SD channels. But the likely reality as this develops will be we’ll end up with both.

[Nick Griffin]

Do you have any particular agencies in mind or will you be auditioning them? Call me bitter (or overly experienced) but I have very little trust for many people in the agency business. If you’re approaching people you already know you have a lower chance of getting S-C-R-E-W-E-D. (A lower chance — not none.)

While it’s possible that you could be the “general contractor” and have the agency working for you, it’s unlikely (IMHO) for more reasons that the one above. The fact that the client wants a broader skill set says to me that they’ll require someone with the ability to fully manage that skill set, too. That requires an in depth understanding and knowledgeable overview.

For example, a good agency will develop a wide variety of strategies, tactics and executions for marketing, advertising, promotional, media planning/placement, and (maybe even) public relations. They will develop messaging as well as brand presentation and management. If you’re not knowledgeable in these areas, what do you bring to the party? Agencies (as well as most people) like to be in charge. That makes you perpetually vulnerable.

Go for the referral fee WITH the written understanding that you will be handling specified areas of the business. It’s safer and more likely to last longer.

-Nick Griffin

“If you think there’s good in everybody, you haven’t MET everybody.”