Richard Herd
Forum Replies Created
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[Todd Terry] “You technically can’t use that photo without securing the rights to that photo… which will reside with the photographer or whomever else actually owns the rights to that photo”
That’s what I explained. Thank you. And if it was a work for hire agreement, then who owns the photo? The politician being attacked! Which seems very dubious that permission would be granted. This particular race is between judges.
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[Josh Cook] “How many forum posts have you read in the past decade about reluctantly switching to Premiere, Avid or (gasp) FCPX?
“Probably somewhere around 10,000
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[James Duncan] “you do bring up some valid concerns with liability.
“Mr. Biscardi has taught me well (reading his posts and implementing his model 🙂
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[James Duncan] “Projects would include, taping local live performances, doing a two or three camera podcast of radio show, many 30 second and one minute spots, “
What kind of deliverable and quality is he expecting? Recording of local live performances is actually not that easy of work. He wants more than a static wide shot in the back of the room with the wild sound. He wants professional video. Maybe he does not understand that he’s looking at 16 hours of work, which at your reduced rate is still a chunk of cash, $800 per video. I arrived at 16 hours because 1 hour set up. 1 hour to take down. 3 hour show. That’s 5 hours. Then there’s 3 hours of footage to wade through, and 3 hours of audio. That’s 11 hours and the editing hasn’t even begun!
If you add two or three cameras, then you have doubled or tripled respectively, the amount of content you have to wade through to make a cut. That 3 hours of footage just jumped to 6 or 9.
I suggest managing expectations and budget realities in a very real way, in a business conversation. Find youtube example videos of what he wants the deliverable to be. And be able to explain how the video was made and the time involved.
Let’s suppose these musicians play in bars, and there are drunk people at bars, and your camera or light falls on one of them (or they stumble into it), who pays for the damages to (a) your equipment, (b) the medical bills. Now your budget reality needs to account for loss payee insurance and general liability insurance.
There are some other interesting copyright issues to figure out because if the musician plays a song written by someone other than the musician, whether in fact you have the legal right to record that song is not in your favor, and you would bear personal liability.
I would not record without all of these issues being figured out in advance and a 50% deposit (or all hard costs, whichever is more) up front.
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You nailed it!
They first need to learn film language … and have fun doing it, with results they can show people.
They need to see lots of examples.
One assignment I used (and would use again) is called “Pass the Salt.” It’s 10 lines of dialogue that make no sense whatsoever, so they learn subtext in acting–bringing meaning to the words with the tone of their voice, and then they have to film classmates reciting it in standard coverage (WS, MS, CU, OTS), and then edit it together. Really, the DV1 class I mentioned was a writing class, because it’s pretty hard to film a movie without a script.
My curriculum is available if anyone wants it, stored on google docs.
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Cool. I taught filmmaking to High School students for several years, and I still hold my teacher’s license. I taught a bunch of classes and the state required them to cover specific curriculum and be linked to Common Core in both English and Mathematics.
Since your question is about equipment, there is a lot of money here: https://www.cde.ca.gov/ci/ct/pk/ And a gentleman on the Cow named Bill Davis, who posts frequently in the https://forums.creativecow.net/finalcutprox has a set of curriculum for sale for teaching editing. The details are in his Creative COW signature.
My class was a block of DV1, DV2, DV3. It’s worth spending some planning time on prerequisites. I based my program off of my experiences as a student at the Academy of Art University, San Francisco. In general I treated filmmaking as a storytelling medium, first and foremost.
Anyway, the equipment I used was as follows:
DV1: 3 each Panasonic V130 ($200) plus a tripod, and SD card, Microsoft Word, 5 Windows computers CS6, 2 iMacs FCPX.
DV2: this was the cinematography course 2 each Canon XA10, 2 high end tripods, dolly splitter, 2 shotgun mics, 2 Sekonic light meters, 1 Arri kit (1k, 2 650s), leather gloves, 4 c-stands, a few silks. Introduced Motion 5.
DV3: this was multimedia stuff. Same equipment as DV2, but it was less teacher influence, and a bit more film critique posting examples in HTML to an intranet and also posting original work.
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I don’t know if this works.
Their standard promo, it appears. You’d have to give a credit card and be sure to cancel the subscription.
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[Ned Miller] “the tutorial service https://www.lynda.com for $25 a month there’s a producer/professor: Anthony Q. Artis, “
As an aside: Lynda.com is free for 7 days, via their facebook promo.
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What age are the students?
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[JP Pelc] “it ultimately has a sort of jittery feel and isn’t quite as filmic as actually shooting in 24p”
Well, I understand the question and I answered with exact detail on what is creating the “jittery feel.” Here it is again: It is the shutter angle. When you are calculating your exposure in motion capture there are TWO things to consider:
1. Frame Rate
2. Shutter Angle.dSLRs do not have a control for the shutter angle, so when you set the shutter speed, the shutter angle is calculated automatically by the camera. In general, you want your shutter speed to be “times 1/2” your frame rate. Example: 60 fps x 1/2 means set the shutter speed to 1/120. If you go faster than that, you will create the “jittery feel” by making the shutter angle more acute — which may be necessary for some stories. If you go slower than 1/120, then you will create motion blur by making the shutter angle more obtuse — which may be necessary for some other stories.
24p should have a shutter speed of 1/48, because that will give you a 180-degree shutter angle (180/360 = 1/2).
24p with a 1/60 shutter speed, creates a shutter angle of 144-degrees.60p should have a shutter speed of 1/120, because that will give you a 180-degree shutter angle: 1/60 * 1/2 = 1/120. Because this is how film cameras work, it will create the motion blur our eyes are used to seeing.
60p with a shutter faster than 1/120 will look jittery.
I can imagine what’s happening: It’s a bright day outside, and when you shoot 60p with 1/120 shutter speed, it blows out everything, so you speed up the shutter, and that really means you’ve made the shutter angle very acute, which will actually create the jittery feel. Creatively, that might be a look you need for some things. If you haven’t already invested in neutral density filters, you will need to do that in order to keep the shutter speed at “x 1/2” the frame rate.
🙂