Rich Rubasch
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COW Coins
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Premiere Pro Coins
Forum Replies Created
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Just to be clear, when you say you want it to be 24fps do you really mean 23.976? Because even if it says 29.97i it is probably playing at a cadence of 24 frames per second (with pulldown added) in the 29.97 frames per second. Make sense? You should be able to go frame by frame and see the duplicated frames.
You can remove the pulldown with Cinema Tools if you have that app from the old Final Cut Studio 3 and make the clip 23.976.
It would be very rare indeed to require a true straight 24 frames per second unless you were going to make a film print. Otherwise for anything video it is 29.97 and 23.976 fps.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
We actually put a number of hours for revisions in the proposal. If there are none and all the rest of the estimate came in as planned then we don’t invoice for those hours that we specified in the proposal as revision hours. But if we consume all the hours making their fixes then we either stick to the proposal as is or see if we can invoice for the overage.
Since we hire talent it is an outside cost and is not negotiable. If they approve Narrator A and later change their mind and ask for Narrator B, I bill for both narrators stating that it is an outside cost that I have to pay so it is not negotiable.
Something like that anyway!
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
We have almost exactly what Lance just posted on 5 old MacPros but we did one more thing. We striped four internal Seagate Constellation 2 TB drives on the internal SATA bays into two partitions….one is 2TB and for just project files, and the other larger one is for Media and Capture Scratch. Getting almost as fast as the internal PCI SSD boot drive on that RAID…close to 500MB per second. They must be Constellation….Barracuda’s were not as fast.
It is RADI 0 so we expect to lose these drives and have a nightly backup protocol of the project files, but this has been awesome.
And since we network between computers for media, we took it one more step. We bought an HP switch that allows aggregation so every Mac send BOT ethernet ports to the switch and we set up aggregates for each Mac. Now we went from around 138 MB per second up to 280 MB per second just by aggregating across the network. It also solved two way traffic jams as it uses the other cable when necessary to send/receive.
We are about at max power, but that new IBM PCI SSD does sound tasty!
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
But can’t the C300 shoot 59.94p (full frames) at 720, and then conform to 29.97 thereby halving the speed with all full frames? I thought that is what was meant by 60fps at 720p. It is in fact overcranking if you are going to a 29.97 timeline. Even more so if you work in a 23.976 timeline.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Do the Red Giant plugins not work in FCPX? I think you can buy Denoiser II as a standalone. Works great in AE and FCP7.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Interesting take Walter. So if you were asked to take stills for a job and half way in they wanted you to run the Bcam on a TV spot shoot you would be happy to do both at the same rate? Or if your audio guy was recording audio and the DP asked him to run the slider on the Bcam the audio guy should charge the same day rate?
I think Daniel is right….not many DPs will shoot stills on top of the video (maybe behind the scenes at most) without negotiating a different rate. And not many still photographers will switch over to video without a different rate.
I think you need to approach the DP and find out what they are comfortable doing and how much they would charge, and not to assume they will just do it as part of their role on the set. I doubt that is the norm….except on Walter’s shoots.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
I don’t carry Worker’s Comp on myself, but I do have a beefed up Life Insurance policy and a rider on my auto insurance on myself for injury with loss of work time etc. So I put insurance in other places to cover more likely losses than at work. I looked into disability and it was pretty expensive…..like $150+ per month.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Oh, and go to the demo reel forum and watch a bunch. Some do it great and some miss the mark….find out what works and fits for you and go for it.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Our animation reel is under 1:20, but I think a complete capabilities could have 40 seconds of eye candy, 30-40 seconds of great (and I mean great) camera shots, preferably with some color treatment and visual interest, along with maybe one or two :30 or :15 spots if you do spot work to top it off. You get graphics. camera work and finished pieces in about 2:30 or so.
Will they watch the whole thing? If it is good they will!
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Exactly. I have a high school diploma, no secondary and I started as a TapeOp making VHS copies for hotel travel videos. I learned the machines on weekends and applied myself. I developed a streamlined labeling workflow with Filemaker on MacClassic computers. I then learned the Digital FX Composium graphics box on weekends reading the manuals and using it as much as I could. Within two years I was the senior designer and two years later I was running an AVID with AfterEffects and putting the entire video together.
I now own one of the largest production companies in the area with the largest sound stage studio. I started in 1992. Here I am.
Are you willing to put in the work at the bottom in order to prove yourself as you move up? People recognize talent, initiative and drive. If you have those you will move up quickly.
Coincidentally our receptionist back then started with no experience, moved into a producer role within 2 years and is now does in house footage licensing with National Geographic.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com