Scott Sheriff
Forum Replies Created
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Not a big fan of net 30, my preference would be:
Know good client, small and medium jobs, net 15, large jobs 1/3rd down, balance net 15, balance on completion even better.Unknown clients, or those with poor payment history. Small jobs, payment due on completion before work is released. Medium and large jobs, 1/3rd down, 1/3rd halfway through at a negotiated milestone, balance on completion before work is released.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
I wouldn’t use WD green HD’s for media storage, or a system drive in an editing system, too slow. Go with the black.
As far as reviews of Hitachi and Seagate drives, what I have read is exactly opposite of what you read.
My experience with WD Black and the Hitachi 7200 rpm HD’s in the 1TB size, installed in the same machine, has been that both brands have worked fine, and the Hitachi’s might be a little quieter.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
I think a unified application is a bad idea. This would be like ditching the big roll around toolbox in favor of a Leatherman tool or Swiss Army Knife. Being all things to all people is always a compromise, and I don’t really want to work with compromise tools, and can’t really see how this would improve the workflow in a positive way.
If I’m doing Mograph work, I really don’t want or need extensive sound and CC tools, or if I’m mixing I don’t want the overhead, or clutter of editing, CC and DVD authoring tools also being open.
In the ‘real world’ most of these departments and operations would be physically located in separate rooms, for good reason. The FCP suite of aps should mimic the real world, and not merge them into one big noisy inefficient ‘room’.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
That is good you have found a DVD with some good stuff on it. I would still recommend working with someone as an assistant when you get the chance.
Lighting, DoF, focus, focal length, are all inter-related, and understanding how/when/what to change to get the look, or result you want can be learned a lot quicker in an interactive environment, like on the job, with someone that has been around.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Go with a Ph.D, maybe in Art History. By the time you get done, the production industry should be reduced to the point of collapse by then, at least in terms of jobs and salary, and you’ll be glad you did get into editing. At least then you wont be competing for a gigs with every high school kid in America with a flip cam, and FCE and a YT account.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Dave Johnson has hit the nail on the head.
You are way undercharging, even considering your experience.
You have to run the numbers, because in the end this is a business.
So if they can’t pay a fair amount, just don’t do it. There is no reason to do work for free, or break even. Or worse, work that is costing you money!
If someone else comes along that will do it for that amount, let’em have it! Once they see that the time, fuel, wear and tear on the gear is not worth it they are either going to charge more, or cut corners.
Or maybe the client will try and do it themselves, and then they will soon see why the job is worth paying more for.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Stuck pixels are super easy to fix on these cameras. I was going to post how to do it, but you have to get into a menu that can get you into trouble.
After reading how new you are, you should either hire someone to show you how to do it, or send it back to JVC.As far as the rest of your post, I really think you should think about working as an assistant, or grip, or pay someone to give you some lessons on basic lighting and camera operation. Not trying to be a jerk, but I think it would get you up to speed a lot quicker, and would be a lot less frustrating.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Zane
“Nobody ever said it was caused by a plugin”
Zane, here is the first line of the original post by Damon:“Well, I’m at a loss
I’ve been using FCP 6.0 on a Mac PPC G5 (dual 2.3) and suddenly it wouldn’t open after I added installed some third party plugins. So, ok I figured some glitchy plugins,.. I deleted the plugins…”
I don’t know what ‘nobody’ said, but Damon said it was caused by plugins, and I was asking Damon which one.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
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“Anyone know why FCP doesn’t ignore timecode breaks even when I have the box “abort capture on dropped frames” unchecked and the option “on timecode break:” selected: “Warn AFter Capture”?
It’s an HDV related problem. I think this is because the GOP frame structure of HDV, and any minute dropout in the TC, or video breaks the GOP. So I the case of Sony HDV, a 1 frame dropout, actually wipes out 15 frames.
I’m guessing that FCP is written to see these breaks as camera start/stops no matter what the selection is, and iMovie ignores them has to due with the limited amount of manipulation iMovie can do with the captured footage compared to FCP.“Also, anyone have any suggestions to avoid timecode breaks?”
Here’s what I do.
1. I use a JVC camera, because JVC has a 6 frame GOP, instead of 15, which makes is a little more robust. Not a lot, but a little.2. Don’t reuse media. The tape path on DV based cams puts a lot of stress on the tape. A new tape is cheaper than a reshoot.
3. Use a head cleaning tape to keep the tape path clean.
4. Don’t mix tape brands. HDV/DV tapes have a lube on them. Basically either ‘wet’, or ‘dry’ type, and they don’t play well together if you switch tapes around. Sony=wet type, JVC & Panasonic=dry type. Stick with one type to avoid cross-contaminating the tape path.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com