Scott Sheriff
Forum Replies Created
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Todd
“Those of you who know us might be aware that our place is full of mid-century furniture, artwork, and general kitsch. We were mad men before Mad Men made it stylish again. I call it über-cool. My mom calls it “tacky,”Tacky? I think not.
Well, your in good company. We are putting up the aluminum tree this weekend! We have one of the few California Contemporary style houses in the area, and the whole thing is done in MCM. Been collecting it for 30 years, so we have been lucky to get a lot of great pieces before prices went through the roof. The look on peoples faces when they first walk in the door are priceless, since MCM isn’t really the local style, and not what they are expecting. The two most common words we hear is either “Wow”, or “interesting”.
Great logo, great lobby. I like the Noguchi table. Classy. Gotta be a George Nelson clock in there somewhere that’s just not showing up in the photo.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Dave
“Do yourself, a big, huge favor: shoot 30p. That’s it. Just shoot 30p. The DVX 100 does a fine job of that, FCP treats 30p just like it was interlaced, you can cut it with no further work in a normal 29.97 timeline, you can broadcast it and the motion darn near looks like 24p.Just do it. It’s fast. It’s a no-brainer. It’s fast turnaround, y’know what I mean?”
That is simply straight forward good advice. I don’t know why these thin-skinned young’uns start whinging when they ask for advice, and you give them the bottom line.
This thread reminds me of threads from folks that insist on shooting interlaced, when they have a choice not to, and don’t have a reason to, and then have a bunch of problems in post.
And when everyone asks why, they say “I dunno”.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Alan
“…I don’t know if you’re aware if this, but many television shows and commercials have been shot on film at 30fps. …”I think this was pioneered by the TV show, Miami Vice. I remember reading about this in Shoot or Post mag back in the day. They had Rank build a custom 35mm FSS that ran at 29.9, so they could go Negative to 1″ without pull-down, and it gave them higher quality low light shots, and the shows trademark look.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
“The historical price of technology used to be much
higher, Think 7500,000 for a 1″ room, ”The room I learned online editing in cost our station a million bucks.
Datatron Vanguard edit controller, 3 M/E Grass 300, single channel ADO-original model no curve or sphere, Chyron IV with MGM- whopping 777 color palette 16 colors at a time, 4 Hitachi 1″ machines, Sony BVU 820 3/4, 2 cart machines (gpi) and a reel to reel (gpi) and two Hitachi studio cameras, since the edit room also doubled as the studio production control room.
At that time we still had 16mm film and Quad.“
Walter, just where did you think that increase in Georgia work came from? Thin Air? No, it was stolen by economic warfare by your state in the form of all sorts of tax breaks AT THE EXPENSE of other states and of other peoples jobs in those states.
So Tell Us
How much “Incentives” you received to build in Georgia?
How big was your suck at the public teat?
Do you feel good about knowing that Interstate Warfare
has hurt your fellow workers in other states?”I wouldn’t begrudge Walter (or any of the other big gun types) any of his work. This sort of thing has been going on since broadcasters lost their grip over the post production world and you started seeing the rise of the independent post houses. That is just how it is.
However, plenty of indy post houses with national clients and lots of awards have gone under. Producers get fired, budgets get cut, priorities change, new guys come along. The things that make you hot today, can make you a ‘has been’, or a target tomorrow. Guys like Walter need to get all they can, when they can, because things in this biz can change quickly. I don’t really see where the ‘big guns’ like Walter are really taking biz from the rest of us.
I think it is all the newbies and hacks that think they know it all because they can heap a gazilion plugins onto everything they do, shoot everything without the sticks, and then charge a hundred bucks for a 5 minute piece. IMHO that is who is hurting this biz, guys that don’t know what the term ‘production values’ means.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
David,
“This has been going on for several years now, and when pointed out here by many who recognized the changes early on, in almost every instance they were belittled and met by post after post from Walter and Bob telling them that everything in the world was just peachy.”I’ll go a step past that to say this began in broadcasting with the demise of the Quad machines, and the rise of U-Matic, 1″ and then Beta. In Denver, that was around the mid to late 80’s. By ’91 we had the last running Quad in Denver, and spent a lot of time bumping stuff to 1″ for clients that were slow to catch on.
The change was logarithmic, so many didn’t see it right away. We stood there like dinosaurs, watching the comet that was to kill us, stupid and happy. Unaware that many would be extinct in a few years.
But as soon as station management started seeing that you didn’t need to be an engineer to operate the new gear, staff size, hiring qualifications and new hire wages began to decline. And you saw a rush to purchase more and more ‘plug and play’ equipment, which was becoming cheaper every day.It reminds me of the ‘Bah Humbug’ Christmas episode of WKRP. The ghost of ‘Christmas Future’ shows Johnny the station run entirely by Herb sitting at some futuristic console. I think when we all saw that show back in the day we all laughed. How ridiculas, one guy running the whole station?
Now radio has gone completely beyond that, and there are TV stations (in top 20 markets) that run 24/7 with one or two people.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Bret
“Odd that you’d have to train the monkey to like 24p. :)”
LOL
Great observation!Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
“It clearly looks better, and anyone but an untrained monkey or perhaps a very bitter old videographer would agree.”
That my friend is about a thousand times more insulting and condescending then the sum total of all Dave’s sarcasm combined.
Since I’m one of the bitter and old “untrained monkeys”, that also regularly dishes out the sarcasm, and ‘the gloves have come off’, I might as well chip in with my 2 frames worth in three easy points.1. Your above statement is clearly some pretty bold talk for someone that doesn’t have a clue about frame rates and technical standards.
2. As many others in this thread have stated, there are plenty of good reasons to shoot 24. However, ego is not one of them. No matter how cool you think it is to pound a square peg in a round hole, the rest of us watching you do this are shaking our heads.
3. Shooting 24 because it looks better? Really? How do you come by that conclusion?
As a blanket statement, that is simply wrong. There are situations that 24 will give better results because the pull down works out better, or isn’t needed. But on equal ground, where 30 vs 24 are both shown in their best environ, there is no real world difference in visual quality. This is a complete myth, urban legend, or whatever you prefer, that is constantly being regurgitated by a bunch of beret wearing urban hipsters, and Michael Bay wannabe’s.
If there was a real world difference in quality, the nod would have to go to 30, simply because there is more visual information being presented to the viewer per second.
More FPS=Better quality. Capisce?
The reason film (real film, not fake ‘digital film’) frame rate was set at is 24fps, is because its the least number of frames per second they could get away with. When 24fps became the standard frame rate it wasn’t chosen because it was better quality than 30 or more fps. It was chosen because film stock and processing was expensive, and the fewer frames that were shot meant lower cost for film makers for a number of reasons. 24fps is simply the lowest acceptable quality they could get away with. Pushing financial, storage, shipping, magazine size, and a bunch of other reasons aside, the standard frame rate would have been at least 30, and probably 48fps as these would result in higher quality.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Headphones for editing is really not the ideal way to go. A good near field monitoring set up is best. But I get your dilemma. When I need to use the phones around the edit bay, I pull out my trusty Sony phones that I use on shoots.
Sony MDR 7506 is what almost everyone uses on location, or in the field. These are full diaphragm, over the ear types. The 06 is the folding model, there is a non folder, too. They are reasonably comfortable. I say “reasonably” because any headphone you wear for along period of time will give you ‘cauliflower ear’, and cause ‘listening fatigue’.
Comfort is really the secondary issue because headphone will all ‘color’ the sound and make any mixing you do will sound different when heard in a monitor situation. The Sony has a pretty ‘flat’ response, and they sell them at most AV type stores, and I have seen them at Guitar Center. These are going to set you back around $150, but that isn’t a lot for good quality gear that will last. My pair is at least ten years old, and survived hundreds of location shoots, and still work great.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Your google search didn’t work because its spelled ‘Vyvx’.
Vyvx pops will have standard audio and video connections at the port, and like Ron said there are a bunch of places that already have the gear in place like uplinks and studios. Any stadium with major league professional sports team will also have a Vyvx pop. You have to book time on it, like using a satellite uplink. If you can find one at a studio or uplink near you they can probably record your feed. If you go to a stadium, all there will be is a panel (pop) with audio, video, phone and data connections, so you either need to bring a deck and a phone, or a small remote truck.Vyvx
720-888-1000Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
What ever asset is marked as ‘fist play’ is the first thing the DVD will do, hence the term first play. The first play can be a menu, or other asset like a moving clip.
Export your title card as a separate element. Then you can bring that asset into DVDSP and make it the first play. Then make your end jump be whatever you want to go to next.If you attach your warning title card to the beginning of your piece, instead of making it a separate asset it will play every time the actual piece is played. Not very elegant, and annoying. If the warning is a separate asset, you can make it so that it only plays once when the disc is first is inserted, but not on subsequent replays of the disc on that particular insertion.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com