Scott Sheriff
Forum Replies Created
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“Unless this guy actually is some kind of pervert – the ads implications are unbelievably perjorative(sic).”
“…and either way there’s NO excuse for any editor with a shread(sic) of human decency to produce work of this nature.”
Bill,
Isn’t saying an editor doesn’t have any “human decency” if they are working on these type of projects, incredibly pejorative on your part?Is this thread:
1.) Actually about the ‘Art of the Edit’.
2.) Just a way to inject personal political opinion on the board.IMHO it is #2, and I don’t come to the Cows for politics.
FYI: It’s pejorative, not perjoratve and it’s shred, not shread.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
“Not sure why a fresh install would make any difference.”
If it is a clean install, then it would eliminate it from the list. The fact that there was a comparison of performance when recently switching from 3 to 4 leads me to ask this question.
Leopard to SL, FCP 6 to 7, STP, all seem to be subject to unexplainable anomalies when users did upgrades vs a clean install. It would surprise me if Motion was immune to this.
Your probably right about monitoring and quality settings.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Over the years, I have done a live music show or two. Here is my 2 cents.
The idea of telling the ops what you want ahead of time, and not having any communication during the show is a deal breaker/show killer. If you can’t talk to the cameras during the show, your not really directing.
Even if you do a ‘no live cut’/all iso recording, it is still key to make sure at least one camera has a usable shot at all times.
Scorsese shot ‘The Last Waltz’ on film, and it was heavily storyboarded/scripted, and he still used intercoms to direct the cameras during the show.Typical set up for live music on a stage
2 HH on stage
1 High center with a nice 2x lens, usually placed on a balcony.
This is your safety camera, and with a 2x can get nice cut-aways.
1 Low on a dolly, stage front, or 2 fixed left and right.
Good for solo close ups, and audience cut-aways.
If you can have another camera or two, one in the wings on sticks to get OTS and house shots, and another mid-floor on a riser, usually next to the sound/lighting board.Its always nice to get a recording from a show on the tour a couple of weeks before, so you can become familiar. Don’t ‘overplan’, it kills energy and spontaneity. Being familiar is good, but don’t be rigid. You have to get you, the cams and the band in the same groove. There is no formula for how much wide/CU/Zoom. You have to know the material well enough to ‘be there’ in time to react, but yet not be ‘stiff’. Be unpredictable, but not distracting. Cutting on the beat gets old fast.
Avoid doing pyro at all costs. If there is any pyro, there absolutely has to be a blocking/safety meeting and lots of rehearsal time. Just avoid is better.
Iso as many of the cams as you can, if you intend to touch up the live cut in post. If you can’t get them all, get the high center, and one HH, then a stage low.
When in doubt, cut to a shot a little early, instead of a little late. Leading looks better than lagging. Lagging looks sloppy, and is distracting to the viewer. Leading has a more natural feel.
The wide shot on the high center cam (usually cam 3) is your friend. Never let that camera go close unless you have your next two shots lined up. Also 30 seconds before the end of each song this cam should go to the stage cover shot.
HH cams should always shoot wide, and get close. Using the glass HH is too shaky, and too hard for the op to hold for any length of time. Let the cams on the sticks use the glass to get the CU shots, and give the HH a break.
I always TD my own show on live music. Since its usually just cuts and dissolves, you don’t really need a TD. It is a lot easier to get in the groove cutting your own show. A good AD is nice to have to let you know where your at on the set list, and deal with problems.
Never watch the line monitor, or you will fall behind and miss catching lucky shots. Learn to cut your show while looking at the cam wall.
If your bad about calling cameras, or letting them know who is on, etc, get better before you do music. Live shows are a zoo, and music can be doubly so. There has got to be solid communication from the director to get a good looking show.
Usually one guy doing shading is fine, but for live music if you can get two shaders on the crew it will help make sure you always have a couple of usable cameras to go to.
If your show is going out live, the band lighting person has to avoid full blackouts between sets, which they will hate. It’s good to have the band lighting and sound on the comms, but let the AD deal with them.
IMHO
As far as the posted clip. I was underwhelmed. I thought it was late in several spots. The cutting didn’t have the same feel/pace as the music. Lack of energy, no ‘groove’. Cameras didn’t really “get in there and work it”. Not enough variety, or CU. Not enough audience. The FX didn’t help. I would prefer a better live cut sans FX.A good(big name)live show that was cut well?
How about “Rush in Rio”.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
When you moved up to 4, did you do a fresh install or just upgrade over a previous version?
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
“hey lets start changing for X, and lets go back 7 years and charge them also. “
That is exactly what they want to do. Internet sales were not taxed. Now that they are having a budget shortfall, they want to go back and apply taxes to internet sales for the last seven years retroactively, and to do that, they want Amazons customer records of who bought what.
Amazon says no. The fight is really about who owns customer records, and has the right to control them.
How does this relate to mpeg royalties? It really relates back to what Arnie said about how could they collect royalties from millions of YT users.
If the courts allow a state to do this, and force Amazon to cough up the customer records, it will open the door for others to try for retroactive judgments knowing they could use the court to obtain customer records to collect the judgment if they win.And what you said about SNL and FOX, is interesting. My guess is if anything were to happen like this, they would just buy a blanket license, like they do for music.
I’m not saying its going to happen. I’m just saying that if the camels nose gets under the tent…
So in the future we all might want to see EULA before we buy stuff, and be a little less willing to just let them shove things like this on us.
Just a thought.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
I love it when all three camera’s have the exact same shot.
It’s almost as much fun as when they all decide to check their focus at the same time!Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Rent a flypack switcher.
What about audio?
What about intercoms to the cams?
What about matching the video levels for the cams?Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
I read the article, and I noticed that it also included HDV mpeg2 gear. So I pulled out my docs for my camera and my deck to check it out. I found no mention of an mpeg LA. In fact there was no LA at all.
So is this something that has just surfaced with the H.264 gear?
Has anyone seen this in their documents?Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
“How can you retroactively collect royalties from the millions of viewers of YouTube or Vimeo videos?”
Well, it’s not royalties, but right now Amazon is fighting North Carolina Department of Revenue over their attempt to get the Amazon NC customer records going back to 2003. This would be millions of records.
Why? To go back and retroactively collect tax.
NC isn’t an isolated incident. If this type of thing succeeds in courts, then the door could be open for others to retroactively collect taxes, fees, and even royalties, and to force companies to hand over customer/user databases to enforce the collection.
Is it too far fetched? I don’t think so.
In the future, I think if the legal table were to tilt in their direction, I could see this becoming an issue. Because when it comes to money and lawyers, anything is possible.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Maybe ‘Montage’ might be the closest legitimate term.
Back in the day when MTV, was still Music Television, when you said “a video”, “music video” or “rock video”, that is the kind of thing you meant. Even if it wasn’t a band video. Any fast cut ‘image’ piece.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com