Nick Griffin
Forum Replies Created
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[Michael Phillips] “for all selected clips, hold down option key and autosequence”
Hmmm. Michael perhaps you’ll be willing to tell me what I’m doing wrong. This generates a timeline with a LOT of black spaces in between. And, although it doesn’t surprise me, it doesn’t seem to work at all on AMA clips, only those which have already been transcoded.
[Michael Phillips] “go to hamburger menu in the bin and select loop clip play or something to that effect”
This seems to work to a point then it generates an error message, which I can’t seem to get it to do at this point. So I guess it’s working (for now), even with AMA footage.
We have a client who has made a request to view ALL footage and, if possible, that’s something I’d like to set-up, start and do other things. That’s the goal anyway.
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[Todd Terry] “People around me don’t seem to be impressed, though”
Oh, so you’ve met my wife and children. Sigh.
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IF, I remember my basic electronics, a simple $5 dimmer doesn’t cut the voltage, it just shaves off the waveform, thereby reducing the energy that flows to the light. I also believe that Mark is right and that you risk damaging the wiring and/or motors.
Also the $5 dimmer tends to (or at least used to) put out a lot of electronic hash, making them highly UN-desirable anywhere that sound is involved. If you’ve ever been into a recording studio you’ve probably noticed the huge dimmers on the wall. They’re a big step up in price and quality because they don’t put out the hash.
[Todd Terry] “the best victims are teenage girls who are a little too old to be doing it in the first place”
Really, Todd? Really? Your jollies come from scaring teenage girls? Given our similar age, if you weren’t already married you could ask them out on a date. That would REALLY scare them, and they’d NEVER come back.
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Alright, Todd. We’ve had this discussion before. I agree that the ‘guy next door’ VO is appropriate for spots, but I haven’t done a TV spot in many, many years. My audiences are B-2-B and, in many cases, a room of hundreds of people attending a conference and the big voice, along with the right music works. My stuff is almost always a few to several minutes in length. Never a 10 or a 30.
My #1 go to “announcer” is also the voice for WNBC New York, KNBC LA and numerous other broadcast properties. So good enough for them… good enough for me.
[Todd Terry] “one reason you hear so many film actors doing VO these days”
Maybe. Actors have been doing VO work on spots for decades because it’s very easy for them (no hair, no makeup, no blocking, no memorization) and they can concentrate on one aspect of their craft and one aspect only. When the spot is national or even a large regional buy, the money can be pretty good, too. And if renewed beyond the initial 13 weeks, the money falls from the sky for no work at all.
Richard Dreyfus was great for Honda, James Spader fantastic for Acura, Gene Hackman made Home Depot very friendly (replaced a few years back by John Doman who’s more “announcerie”), and almost the entire adult cast of Modern Family are now doing VOs for national spots. You just gotta listen and it’s amazing how many actors are picking up easy money doing this when their not on a film or TV set.
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I’ve found that many of best announcers are on BOTH Voices123.com and Voices.com so there may not be much difference. That said I have NOT done a price comparison, of which there may be none. I also agree with all of the above on compression, EQ, gates, etc. As to breathes, I don’t mind them from a pro, because they know how to do it and I can use them or cut them out as needed.
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Call Crews Control at 800-545-2739 and ask about their prices for these markets. In the scenario you are describing that will almost always be a two man job: cameraman and sound guy who also helps out with light grip duties.
Problem is, that’s really only the start. Then, far more likely than not, you will need a producer there to control and direct the process, quite possibly to feed the interviewee the questions and shape the answers. I don’t believe, for the most part, that you can expect that from a cameraman. That’s not what they are there for and not what they’re being paid for.
Because I function as my own producer (almost all of the time), I might as well also be there to do the camera work. At least that’s the way the math works for me.
Hope this of some help and somewhat surprised that your post hasn’t attracted more attention. Perhaps this is best asked on the Business & Marketing COW, but you will have to re-word it as the COW lately has been preventing duplicate posts to different forums.
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Shane-
Thanks. No reason to do it now WHATSOEVER. In fact I would routinely wait 3 or more months for a .1 or .2 version. -
Am I to assume it is “applied” as a filter? If not how and where? Thanx!
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[Jon Harrison] “he decided to just take me to the airport while telling me over and over there was a UPS in the airport – which there was not.”
In my experience cab drivers often lie when it benefits them. Probably not all, but many. This guy obviously decided that waiting for you outside a UPS store was not as profitable for him, even with the “meter running,” as using the same amount of time to find another fare.
My wife and I once had a cab drop us at a museum in Europe on a Monday. The cab driver had lied when we asked at the start to make sure that it would be open. It wasn’t and he was long gone before we knew it.
You can often have the business center in major hotels send things for you, BUT they typically charge a premium well above what the UPS or FedEx cost is. So for your next trip go online beforehand and look-up where the UPS or FedEx stores are relative to where you are staying.
Far more often I establish with the place I’m going to shoot that I can send them my big stuff via FedEx. Then, at the same time I’m shipping, I also create pre-paid return airbills and ask the office or factory where I’m shooting where and when they usually have FedEx pick-up. I’ve yet to have anyone turn me down, although a few times I’ve had to call in the pick-up myself because they don’t have a regular pick-up.
Glad it all worked out for you, though!
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I think the only way to approach this is a two step process. First prepare a list of your past projects, especially for whom they were done and a list of the people who will be working on their project detailing their background and skill sets. Then with that ready to go back to them immediately, ASK them what exactly they want to see in this RFQ. The best course of action is to open a dialogue and this especially includes the scope of the project from which you can then extrapolate what your fees will be.