Scott Sheriff
Forum Replies Created
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[Micah Neidhart] “Do you have any recommendations for services like this? Are there any other ideas we should consider?”
You could hire one of the ad agencies your trying to target for work, and do a trade out.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
I would generally agree with Shane that linkedin is useless, and only worth doing the free version. Free is free. Although as we speak I’m printing an invoice for a small editing job that came to me through linked in.
I’m not seeing the gigs come in through social media, but it is good for finding out about new free plugins, updates, industry gossip.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
[Andrés Ricardo] “I’ll be working primarily in After Effects, which I have about 4 years of experience with.”
What have you been charging during this time?
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
[Jason Brown] “I’m trying to understand what kind of decisions I need to make on production workflow.
As I understand it:
I have the ability to select PAL, NTSC or NTSC-J in my PDW 700. I’m not doing any transmission on my end and I’m going to produce final pieces in NTSC and PAL.
Seems that NTSC-J is really only a factor if transmitting the signal (which I’m not)
So, between NTSC and PAL, is it better to go with more frames and convert down to PAL? Or is it an easier convert up to NTSC?”
More info on what you’re trying to do would really be helpful, if you’re looking for specifics. Are you having to incorporate footage from other sources? Where are you shooting? How and where are you doing the final distribution?
I’ll just make a couple of general observations.
Since we aren’t talking xmission, NTSC vs NTSC-J the only real difference is 7.5 ire black for NTSC, and 0 ire black for J. Same frame rate. Most everyone shoots 0 black (and super white) anyway, and fixes the levels in post for whatever the delivery standard is.
Should you acquire/post NTSC or PAL?
With that camera, I would shoot and post in HD, and then downconvert to SD.
For choosing the frame rate, I would work backwards from my required final delivery format, which you should do for every project. For multiple delivery formats, I would work in the local standard of where I was shooting if my footage was going to be the bulk of the project. Or if you have to match a lot of other footage, shoot in a format that the bulk of the other footage is.
Perhaps others might chime in with some options here.Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
[Jason Brown] “I had someone tell me yesterday from china that all he needed to know was frame rate, 30p or 60i…because I told him NTSC at 30p and he told me that no one uses the language NTSC or pal anymore…just dealing in frame rates.
So while I understand this, because it’s either 50 or 25 OR 60 or 30. Are those the only 2 tv systems out there? Is SECAM dead? What about
NTSC-J?”If we are talking transmission standards:
There are still countries that use NTSC, and are not scheduled to change for the next 3-5 years. And some not at all. Plus in America, low power translators are still free to broadcast in NTSC, and many continue to do so.
NTSC-J is scheduled to go offline in July.
PAL in one flavor or another is one of the most popular TV broadcast standards with well over a hundred countries adopting it. Many PAL users have converted to DVB, and a few to NTSC or ATSC. But still there are countries still using PAL with no plan to convert to anything. Some of them had just converted from SECAM, which is often a cheaper conversion, since SECAM is pretty much a cousin of PAL, and a lot of the gear can be retained and/or modified.
SECAM is not dead. It continues to be used in quite a few places also. Some exclusively, others simulcast in PAL.
As hard as it is for many of us to believe, in many smaller, developing, and ‘third world’ countries, the population simply doesn’t have the disposable income to abandon their current broadcast and reception gear on a whim like we can.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
[George Snow] “The footage I have is beautiful. When I’m watching it in Quicktime it looks great. When it’s in the Canvas it looks a little blurry.”
Try watching the canvas at 100%, and not fit to screen, could be part of the problem.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
[Marteana Davidson] “Can someone recommend a lighweight and sturdy tripod. This will be used in a high school setting so it needs to withstand student use.
We currently use Libec TH M20 but I think we could go lighter in weight.”Hi,
There are tripods that are a couple of pounds lighter, but does a couple of pounds really matter? Schleping gear is part of the deal, and good for students to get used to. None of the tripods in the same category as the M20 are by any means heavy. At a certain point with budget priced sticks you sacrifice stability and durability for weight savings. And part of the overall weight of the tripod is the head. And the head you choose will have a big impact on assembled tripod weight.It’s hard to recommend a tripod without know your situation, but here are some things to consider when choosing a tripod set-up.
Your budget.
How heavy is the camera you’re using?
Are you just looking for a tripod, or do you need a fluid head too?
What size bowl do you want/need?
How high and low do you need it to go?
What type of feet?
Do you need a quick release?
What accessories do you need? Spreader? Pan Handle? Wheels?
Other factors are the quality of the adjustment hardware, built in levels, durability and even the type of shooting that is normally done.In many ways there are a lot more considerations than weight. A tripod that is tough to set-up, shakes on long shots, breaks or collapses isn’t worth the weight or cost savings. And often to have a nice light weight in listings, weights will be quoted without any commonly used accessories.
When you are figuring your camera weight, actually weigh your camera as you use it with all accessories attached. Mfgrs list weights can be ‘optimistically’ light. And make sure your camera isn’t at the top end of the chosen tripod/head weight rating, it’s good to leave some headroom.
As far as withstanding student use, I would place that in the same category as renter use. In reality, none of these lightweight tripods are designed with that type of use in mind, and will get beat up a lot quicker then a tripod designed for daily professional* use, that cost a lot more. I think in this environment the low cost, light weight, tripod becomes an expendable item that will need to be replaced every few years.
Light weight, low cost, or longevity. You can only have any two of these.*I’m not implying anything about professionalism here. Many professionals like myself own and use these light weight sticks. I’m referring to tripods like the big Gitzo’s, Schatlers, Oconnors, etc. are built to withstand daily use by multiple users like you would see in rental or news ops.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
Search the forum. Been covered a million times.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
https://www.sstdigitalmedia.com
I have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
David,
“You mean up-convert to unc. 10-bit 4K, then down-convert back to VHS to make it better, right?”
Not quite.
I was thinking your workflow:
“transcode DV or FlipCam to 10-bit uncompressed 4K, then down-convert to ProRes Proxy for the offline. Then, upres back to 10-bit unc. 4K for the online, and down-convert that to ProRes 444 for release.” would be perfect for final deliverable on VHS. That should retain enough quality so I can master in EP and use short cassettes to save money.
Now if we could figure a way to slip some Hi8 into that workflow it would be the bomb!Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed…