[Richard Herd]

That’s a fine idea!

[Richard Herd]

[Andy Neil] “a modifier key that I could press to hold a connected clip in place while I slip the primary clip below it”

An auto-gap function/key?

What do you mean?

Thanks!

[Richard Herd]

Isn’t that the famous gag? John Glenn, moments before launch, thought, “Oh S…t, I’m sitting on a pile of low bids!”

[Richard Herd]

Are you in the US?

Animating a logo is more than likely a work for hire agreement. It’s a one time deal. They own everything, for a fair price of course.

One other nit: logos are not copyrights; they are trademarks, ergo, the work is a priori derivative.

Bottom line: you need to be paid a substantial sum. 50% upfront. Nice clean contract. Then you show your deliverable with timecode on it, so the client can critique and offer changes by referencing the TC (which also means it can’t be used). Then, when they agree it’s finished, they can send you full payment. Then you can deliver the product.

I learned this the hard way: be sure the contract includes a very exact termination clause. That is, in five years, when they feel the animation is stale, they need to start a new deal structure.

[Richard Herd]

This is easy in 7, tough in FCPX, if anyone cares, here.

One trick I like is as follows: frames go: 1, 2, 3, 4, 5, 6.

Cut each frame, then rearrange as: 2, 1, 4, 3, 6, 5. Timing it to the music can add an interesting stuttering backwards-but-wait-it’s-going-forwards trippy vibe thing.

[Richard Herd]

Same basic bin structure. I’m not afraid of sub-bins, which seems sort of silly if you think about it from an “I used to edit film” point of view (silly image of a film bin inside a film bin inside a film bin).

anyway, I’m a SEQUENCENAME_v1_20120223 kind of guy. That means I like the year first, in the date part, so it’s in order. Why? you might ask? Cause the export date might change, for some other client reason, like “turn the music up here.” (In my head I’m thinking but that’s silly, but ok I do it anyway because they’re sending me a check.)

I know that SEQUENCENAME_v1_20120324 is a microchange.

In 2005, a client needed some footage from the late 90s. The guy I worked for had been in business for over 20 years. The footage was stored somewhere in the vault, an ominous place, btw. We had to go back to invoices and job numbers to find the archive. Point is: very important to put dates on everything.

[Richard Herd]

[Bill Davis] “putting a tractor in a race with a Kawasaki Ninja.”

Your metaphor slipped…depends the track we’re racing on. If there is no track, the tractor will win!

These are puns.

[Richard Herd]

I’m sure Thomas Kuhn would agree with you 🙂

[Richard Herd]

Just to be clear, those were not my quotes. Those were from John Galt and James Cameron.

Here’s some other great information: https://www.freshdv.com/2008/05/demystifying-digital-camera-specs.html

[Richard Herd]

sync sound is the magic answer. 24fps matches our lips to the sound we make when we speak.

Here’s a great article: https://magazine.creativecow.net/article/the-truth-about-2k-4k-the-future-of-pixels

Here’s a quote from it: “John Galt: I don’t like the frame rate. I saw Gorillas in the Mist and the gorilla were flying across the forest floor. Every frame they seemed to travel like 3 feet. [laughs]. It’s really annoying. I mean I loved Showscan: 70mm running at 60 fps. In terms of a sense of reality, I think it was far superior to IMAX.

That’s why I subscribe to Jim Cameron’s argument, which is we would get much better image quality by doubling the frame rate than by adding more pixel resolution.

To many cinematographers, this is sacrilege. You often hear cinematographers saying, there’s something special about movies at 24 frames per second. This may be true, but I’ll tell you one of the problems of 24 fps, it’s the reason we watch such a dim picture on a movie screen, because if you pump up the screen brightness, you would notice the flicker from the 24 fps motion capture.”