Randall Raymond
Forum Replies Created
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I’ve been working out of a home office for over 20 years now. My best year was 1.3m – all Fortune 500 automotive – well, most anyway. It can be done and I love it!
As far as clients needing to sit over shoulder while in the edit – I have completely sidestepped that pain-in-the-neck by becoming rather proficient at encoding to flash video – serving it up on a hidden web page – with written comments like ‘How’s that?’ It’s much more efficient for both of us.
I’m of the school that says if you give a client toooo many choices – he’ll/she’ll drive you nuts. You have to train clients.
Whatever angst Ben is going through – I wish him well and hope that he can let go at a ‘final’ when the clock has run out – some of us know that you tweak an edit like you can tweak a short story and never see it published. There is really no end to perfecting something – I feel a comradery with Ben on that, but Ben, I’ve learned to not stress over a ‘final.’ It’s done and it’s way better than most. Next!
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[Steve Wargo] “So why am I always broke?”
Because you haven’t produced a Shanaladingdong brain-dead blockbuster?
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An explanation of how to do that is in the Vegas manual as well.
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[Steve Wargo] “Sunday morning at 5am”
That’s our “Hungover and going to church and swear never to do it again” RATE. We try and cover all the bases…
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[Patrick Ortman] “The trick now is converting this client into someone who works WITH us, rather than someone who springs crazy on us at the last minute. Any tips for that? :-)”
A frontal lobotomy? (He’ll smile a lot and be a perfect client) “How’s this breathing mask going to help me see my project in 3-D?”
“Don’t worry, this won’t hurt a bit…”
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Who the heck do you think you are taking a vacation? Sheesh!
Can’t you bang something out in a day or two with existing footage and maybe a quick shoot and give it to him for a Christmas present? He won’t forget that one.
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[Bruce Bennett] “Some corporate people/prospects will dismiss you right from the beginning if they see that you do weddings.”
Some? -
[titan3ium] “Do I take out ads on tv and show what the company can do? please any and all help would be appricated!”
Not TV! I would suggest a Google Adwords campaign and learn Flash Video (I mean really learn it!) – there’s more work out there for internet video than one can shake a stick at!
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[Timothy J. Allen] “I could copyright a script about “a man who escapes his captures and goes on a quest to prove his innocence”, but unless I’m very specific about how the story plays out, I’m not going to be able to claim infringement by any of the hundreds of other treatments and scripts with similar concepts. The more details you include, the better protection you have, but the more you paint yourself into a corner with your concept. The key is having a clear vision and being able to express it well enough so that people can easily identify your concept as unique.”
Right.
OK. Real world. The AFLAC Duck idea probably started with their ad house – a perfect solution for a company nobody could remember. Client likes the storyboards and okays production. Need for a copyright at that point? I doubt it. What would it protect – a talking duck? Good luck defending that concept…
More to the topic – who owns the raw footage? 99.9% of the time – who cares? – it’s unusable for anyone but the client. What about that footage of a happy couple? If unsure, shoot another happy couple – if you can find them…
Bottom line: a copyright or a patent is only as good as the amount of money you (or the other guy) are willing to spend to defend it.
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Often flickering is the result of over sharpening – did you use the sharpening filter on the photos?