Nick Griffin
Forum Replies Created
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The video looks like the Gaff Gun is being used on relatively thin mic cables. Wonder how it would work on 10 gauge stinger cables. We have to lay a LOT more of them that mic cables.
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Thanx, guys! Either of you considered writing an Avid book or making a COW tutorial?
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[Shane Ross] “Why? Why copy it over, do work…and then delete the media? I don’t understand why you want to do this.”
Shane-
The whole idea of moving the media to my main system is so it can be on the RAID and therefore gain the real-time speed that I wouldn’t get from accessing a FireWire-connected drive. Then I want to get that media OFF of the Raid to free-up Raid space. Doesn’t THAT make sense? -
If you can get far enough away from the full body shots, and the subjects can get far enough away from the wall, you can zoom to the long end (higher mm) of your lens, add density filters and open the iris for a very shallow depth of field. At least that way the blur of where the red meets the gray will be a lot less distracting than a hard line.
Other than that the backdrop seems like the best way to go. Any chance of having a gray that’s a close match to the wall so there’s some continuity between the close-ups and the full body shots?
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This is not something I have rented more than a few times, but..
# 1 is size with background cyc, greenscreen, curtains or whatever a close #2. The power is important, but having an overhead grid in place maybe critical for some.
The set should be easily vehicle-accessable for un-loading/loading gear with the ideal being room to drive in a car and position it, if that’s what’s needed.
Things like the # of dressing rooms, client lounge and kitchen mean a lot to some people. For others not so much.
Very clean sound proofing is also very important for many shoots. A truck going by outside forcing a re-take can be VERY bad for long-term business.
These are all the things that come to mind right off the top. Just make sure that your soundstage is just that and not an empty warehouse claiming to be a soundstage
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I agree with everyone else on keeping your name in the name of the business. (Huh. Nick Griffin of Griffin Communications says this, go figure.)
The thing that jumps out at me is having your own business and another with a partner without a clear delineation of who’s who and what’s what. Does your wedding partner own any of the gear or software, or you any of his? Is it spelled out how the costs to not only acquire, but also maintain it, are divided? How about what percentage of time each gets it?
Bottom line: along these lines, and speaking from experience, sometimes partnerships go south and the better prepared for this, the better it will go. When my last minority partner and I parted ways he was pretty p-ssed off. I later found through a third party that what had him so angry was his lawyer telling him that mine had written a fairly bullet-proof agreement for us in the beginning and there was nothing he could do but accept the deal as originally agreed to. I believe the full agreements, from a major law firm, cost the company upwards of $7,000. But that turned out to be money very well spent. Your mileage may vary.
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[Laurie Pepper] “I DON’T want to learn premiere”
I agree and went another way altogether: Avid Media Composer. Every time I use it I wish I’d moved over years earlier. It took the $1,000 cross-grade promotion from FC7 a couple of years ago to get me to make the jump. Now I know that even at what was full price at the time, I should have made the move years earlier.
Yes, you will have a learning curve, but if you’re at all like me, once you start learning the Avid way it’s amazing how fast and efficiently you can work.
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[Daniel Lawrence] “but I s’pose we don’t want robots taking over everything just yet…”
No, but websites designed by humans for use by humans is always a big step forward. Avid’s site seems to always have been somewhat more difficult to navigate than would be one with more logical navigation. (IMHO.)
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I’m looking, too and have been for over a year.
My problem, and maybe someone can point me in the right direction, is I want an application that approaches timesheet billing from a CALENDAR standpoint rather than a job standpoint. I have yet to find one, including:
[Chuck Johnson] “https://solutions.filemaker.com/made-for-filemaker/detail.jsp?id=solution.10…”
that takes the calendar approach.I’m spoiled by the way I’ve been doing timesheets for the past dozen or so years and can easily reflect the way my day jumps between multiple clients and multiple types of work.
I use Palm Desktop (yes, THAT Palm, the piece of personal hardware that nobody uses anymore, including me). Palm Desktop software however provides a calendar where it’s relatively simple to enter events in 10 minute increments. Then at the end of the month I export the data as a tab-separated text file which I open in Excel. Then I run a macro which moves the columns into the order I use for billing and can sort by client, category of work/task performed, date, start time & stop time. Yes it’s a multi-step process once a month but it works.
Now the bad part and why I’ve been looking. A few revisions back the Mac OS removed “Rosetta” which enabled the running of apps written for the Power PC chip on Intel machines — ie. the Palm Desktop software from more than ten years ago. So I’m left keeping my timesheet calendar on an older laptop and common sense says that the hardware and this method’s days are numbered.
So… that’s what I’ve been looking for. Something that lets me use a calendar which easily integrates with the way my days run, yet can be exported for billing purposes.
Any and all ideas are welcomed.
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You are right, Shane! I had to remove the “in” and “out” and add a new “in” in order to replace the music so that explains it. Even after a year I still have a LOT to learn about MC. Thankfully there are so many helpful and knowledgeable people on the COW.