Nick Griffin
Forum Replies Created
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As always, Thanks Flo! Worked like a charm. I knew of the existence of 2.12 but logically assumed it was either for something else or an earlier version. And it actually fixes a few of the annoyances of 2.7. Version 2.12 coming AFTER version 2.7. Hmmm… funny these Japanese. Now back to my second PAL project in as many years. Wonder what issues I’ll have with deliverables.
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Sure, I will but… dumb question… isn’t 2.7.0 a higher version number than 2.12 ?
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Good for you, John! Wish more of these could have that kind of “happy ending.”
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Thanks, Walt. Problem is I just listed the latest three incidents, with the last one as a last straw. (LEARN FROM THIS, CHILDREN!) I’m sure there are some good ones, I’m just growing very weary looking for them. And getting damn tired of the entitlement attitude.
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Sue-
I think the upgrade is certainly worthwhile… but don’t forget that you will likely have to upgrade the drivers for your i/o card, drivers for your RAID (if using one, which is kind of necessary for HD), and may have to update some other applications to work properly with Snow Leopard. For me its all been HIGHLY worth the effort. Just don’t go into this (or any other upgrade) getting tripped up by not upgrading many related pieces of the puzzle. And, for the sake of your sanity, DON’T do a major upgrade WHILE you have live projects with hard deadlines. The Media 100 stuff will upgrade transparently, but the related upgrades may slow you down and this can be a major headache when on deadline. (IMHO.) -
Ever since April when I bought it (on Day One, mind you) I’ve taken my iPad EVERYWHERE that there’s a chance of waiting. So I have books, newspapers, music, movies / TV shows (not to mention portfolio work), many apps and MORE everywhere I go. Carrying a book or even a newspaper sends the message that you are bored. (IMHO.)
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Joshua –
Please send me a resume: – I MAY have some ideas for helping you get ahead and escape the slow corporate mentality. -
Did I miss the part about “6 or 7min” segments? At least that would give you a chance to change tapes / disks / cards.
When I’ve covered conferences I’ve always made sure that I was working from the same script and schedule as the presenters. It’s far better to have used just 40 to 50 minutes on a 62 minute tape than it is to find out that the whole world stops at 63.5 minutes and your tape change has lost something important.
Which brings me to another key concept. I don’t promise to get everything. Can’t be guaranteed with a single camera and single take. It’s all a matter of managing client expectations. Are you there to produce a representation of the event or a complete reproduction. I do the former and make sure that’s understood beforehand.
Other thoughts that go back to your original post, if they’ve been happy with homemade, handheld SD, they should be delighted with well shot (and lit) SD. Hell, do it in 16 x 9 and most people will THINK it’s HD. The benefit to you is that you will have MUCH less data and many fewer recording tapes / disks / cards. The money you save could also be used to rent a lock-down SD camera which you could aim at different parts of the audience from the front of the room, changing the shot during breaks throughout the day. Stuff to cut with because, to make this thing watchable, you’re going to need it.
Other cut-aways can be created, with the cooperation of the presenters, before or afterwards my shooting long shot close-ups of parts of their show from alternate side views, from behind, from below looking up, etc. Just frame so the audience wouldn’t be seen even if they were there.
But that’s just me. And yes I AM cynical and most days would avoid this kind of thing in favor of getting a root canal.
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Sorry to be the one to throw the monkey wrench of reality into your planning process, but…
From experience, my guess is the only person thinking that all 32 hours need to be recorded and THEN he (or possibly she, just less likely) will know what the important parts are, is an out-of-control egotist. Someone who has no clue as to what’s involved in something like this, hence no clue as to a realistic method of achieving it and what the realistic cost is to accomplish this.
[James Richards] “but they shot it down due to costs… unfortunately.”
See what I mean?
And, pray tell, how does one get a day-long continuous take any OTHER way besides going direct to a BIG ASS hard drive? And what’s the back-up for that ONE drive? Bet they can’t afford that either, even though failures and hiccups DO happen.
Sorry to say it, but if it were me I’d wish them good luck and run — run like hell — in the other direction. Too many ways for this to not go well and, with a single camera, be a surprise to them that it’s not much better than their previous homemade attempts.
But that’s just me and “…no matter how nasty I become, I’m always holding back.”
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Thomas –
I believe that rather than “copyrighted” music you mean royalty-free or low-fee licensed production music. There are dozens of sources for this, just try Googling “production music.”The big libraries like Killer Tracks are not cheap but are HUGE in the numbers and styles of tracks offered. The big guys also have the best writers and best orchestras, bands, soloists, etc. The small, “royalty-free” companies are generally much less expensive, but as is the case with so many other things in life, you get what you pay for.
One primary difference between production music and popular music is editability. The stuff is designed to be cut to length as needed, or as one of my former clients put it, “That’s amazing! Where did you find music the exact length of our video?”
Many of these companies now have online auditioning and purchase. I’ll let others chime in with some names and favorites.
I don’t know if the promotion is still going on, but right here on the COW a week or so ago FootageFirm was offering any single disk of production music for their $8 postage & handling fee. Not all great stuff, but certainly worth the price.