Nick Griffin
Forum Replies Created
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Greg-
You could do it one disk at a time simply by transferring the entire disk and laying it into a timeline then setting “Timeline Start” to the same time as the head of your disk. Of course scene changes stops/starts may throw off the synch a little depending on the camera you’re using, but for the most part you should remain fairly close. It will take a lot of time and use a lot of disk space, but it will give you the burned-in t/c client reference you’re looking for.For what it’s worth, we rarely do this as it’s easier to bring the client in, sit them at the “B computer”, show them how to mark ins and outs and leave them alone for a few hours. It’s SO much less work than trying to enter t/c from someone’s paper edit, and it usually results in them realizing why they have us to scene selection in the first place.
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Kevin’s idea may work for him. Most of our clients have the expectation that we will deliver a complete solution and accept the fact that we have a mark-up because we’re in business.
I had a great experience with Matt Townley at MST Productions. He’s helpful and, in my experience, honest. See:
https://mstproductions.com -
Rebecca –
With all due respect I don’t think you should be doing this with only the help and suggestions made on this forum and made over a very short amount of time. This is detailed enough and technical enough that the law of “you get what you pay for” is likely to take effect.You need someone who does this sort of thing for a living. May I suggest Bob Zelin? If he is unavailable or not interested in the studio / stage part of it he can probably recommend someone who is. In the alternative I would look to a turn-key vendor who will assume full responsibility for the installation as a whole working from day one. Both options will add to your cost, but what’s the actual cost of having a facility that doesn’t work properly?
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[Kevin Rossiter] “Have your Corporate video Prices come down since Recession?”
Price sensitivity has certainly spiked. Our responses so far have been a sharply scaled-up new business effort directed not just at new people but also at new markets. We’ve also utilized the creation of more “package” deals — much like what I see on your site Kevin. (Which is brilliant, BTW.)
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Didn’t the original post have AVP in the context of a wedding? Not too many of my own weddings had an assistant video producer.
“I was married by a judge. I should have asked for a jury.”
– Groucho Marx -
Audio/Visual Person?
Just guessing.
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What? You’ve never had a client say, “What’s this? Did you get a chimpanzee to shoot it?”
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Perhaps it’s my proximity to the Washington DC local AFTRA (third in size behind NY & LA). Over the years there have been so many jobs for the government which required a buyout. And doesn’t THAT just bring this whole thread full circle to where it started out?
“Some people say that I’m superficial. But that’s just on the surface.”
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[Todd Terry] “they no longer own the rights to the performance on that footage”
One exception to this that’s worth noting, on PSAs (Public Service Announcements) I believe that the standard is that talent fees are a one time “buy-out” so that the talent does NOT get paid over and over in recurring cycles. At least that’s how it was with AFTRA/SAG talent in my previous life of putting things on the air.
“Some people say that I’m superficial. But that’s just on the surface.”
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Emre-
Your friend should ask to be shown the clause then when shown give them what they’re asking for. Considering the way Federal procurement works it’s extremely likely that this wording exists in something he signed to get the gig. Sad but true.