[Richard Herd]

2000! Holy crap. This brings up so many questions!

Do you have a depth of field chart for the FS7? I googled of course but it was hard to suffer through all the noise.

Thanks!

[Richard Herd]

[Richard Jacana] “hey mention “insurance” “

Short Term Production Insurance is what you’re after. The client will determine how much you will need. Please be aware of the different kinds of insurances, just to name a few:

— General Liability
— Worker’s Comp
— Loss Payee
— Errors and Omissions

[Richard Jacana] “Can one get this type on insurance for say just the duration of the shoot
– would my insurance cover the subcontractors?
– what range are we looking at there $100, $500 $1000 per person?
– how long does it take once one applies for insuranc ?”

Yes.

Yes, if it’s written properly.

The money is too complicated to calculate because each kind of insurance has a different underwriting. For example, workers comp is dependent on how much the subs are being paid. General Liability will take into account where you’re actually at — are you on a boat, for example? The details are very detailed, and so you need to contact an insurance agent who specializes in Short Term Production Insurance, in the State (US, here) you’re doing business.

The time it takes again is up to the Agent and his or her underwriters.

There are other details you need to consider (and I mention this because you’re asking a particular question) since this is a business and the goal of YOUR business is to generate profit. You will most definitely need a deposit from your client well in advance of the shoot so that you can pay all of your hard costs; plus, you need to live — food, rent, etc — you cannot wait to get paid until the client’s account’s payable department finally gets all the paperwork together and finally finds your invoice — 90 days after you’ve delivered.

Most clients hate paying the deposit upfront not because they’re bad people but because they’ve decided to make a video
and often (not always but often) they do not control the purse strings. Your contact (whoever it might be) will have to get everything approved or they will look bad — and they will always blame you the vendor if and when things go (not even bad) just mediocre.

[Richard Herd]

I used to shoot a lot of food — commercial stuff — which I don’t do anymore (yay) but slow mo is important when those Asian chefs make a huge wok of fire.

[Richard Herd]

OMG. That’s so silly.

But I meant in AE when I hit ESC it deletes what I was doing, but in the Pr titler it is done. See also: illustrator and photoshop. argh.

[Richard Herd]

[Oliver Peters] “Premiere and AE”

Like the command for getting out of typing text. Why are they different?

[Richard Herd]

[Simon Ubsdell] “nobody is actually thinking hard enough about this stuff”

We tried.

https://forums.creativecow.net/readpost/335/92650

[Richard Herd]

This forum is pretty quiet and I just popped in to post the answer to my question in case someone else asks. Not to be a jerk to the cow, but I found lots of help on the reddit ffmpeg forum. Good luck!

[Richard Herd]

I solved the issue.

fmpeg -i input.mpg -c:v copy -c:a pcm_s16le output.mov

Then when it comes into Premiere it took the 5 hour file several minutes to load.

[Richard Herd]

[Jake Block] “We are currently getting 80 to 100 of these requests in a day and it’s taking a lot of manpower to crank them out in a mannerly time.”

Let me see if I understand your problem: you’re getting so many requests you cannot turn enough profit from the HR budget and so you want to automate, and that way your labor costs will decrease and your margin will increase?

https://www.youtube.com/watch?v=IYZqlOCA9cw

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[Richard Herd]

In general, this is standard and relatively straight forward:

Normally with a zolly, it’s very exact, and each take is written down accurately on set, noting all the relevant details from take to take.

We need to know (1) film size/sensor size and (2) fstop so the depth of field can be matched. We need to know the (3) focus distance goes from x-feet to x+dolly move (10 feet to 30 feet) and be sure to use the marks the manufacturer placed on the lens. The (4) focal length goes from 25mm to 85mm. And then you block and rehearse the action accordingly, and (5) how far away is the background.

Analyzing the board, the initial setup appears to have some serious problems. The scale of the scene is indeterminate. The green screen is 20×20 so it appears the camera is greater than 40 feet from the background, and shooting with a full sized sensor on an f/2.8 means the background is pretty soft, as you dolly the camera backward and zoom in, the bokkeh and background softness will get even more exacerbated. In effect, no actual lens in reality will do what those two thumbnails will do unless you have a huge amount of light, and I mean broad daylight, “sunny 16.”

Enough technical mumbojumbo: From a storytelling point of view, almost always a zolly is used to reveal the character’s emotions and feelings of being overwhelmed. This shot needs to be flipped to reveal the character’s face so we the audience know what he’s feeling at that moment.

Good luck!