Seth Bloombaum
Forum Replies Created
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Powerpoint will give you the full resolution of the host PC, say 1024×768 for playback.
Vegas (or Vegas Movie Studio) would typically make about a quarter that resolution, if you were operating at standard NTSC/PAL frame sizes. What’s good about Vegas is that you could play back the slide show on more devices – TVs, computers, home projectors, etc.
What’s good about powerpoint is that you can get higher rez and therefore a better picture for a large group if you have access to a projector that will do 1024×768 or better.
300MB powerpoint files usually are the result of incorporating advertising layouts or large pictures into the show. Usually, you’d reduce large elements to somewhere between 800×600 and 1024×768 in photoshop or paintshop pro or other graphics program before pulling into powerpoint. If the pix were smaller, this might also fix the music timing problem.
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Disclaimer – never done it, myself.
You’ll likely never get what you’re looking for by trying to fold it in to a 5.1 mix, as you’ve found out there is not enough channel separation. You’ll need an authoring program which gives you the capability for a second audio track. This is a track completely independent of the primary 5.1 mix, often used for additional language and commentary tracks. The DVD spec allows up to 8 total tracks, each of which could be 5.1, pcm or whatever. Don’t know how or if DVD studio supports this.
Sounds like you want something else to chase the DVD while preserving nice DVD audio as well. I suppose the ability to send one audio track to perhaps the optical output, and the other (tc) audio track to analog output would be player-dependent. Maybe some DVD players would do this, I have no idea.
However, with timecode chase you could always have your nice audio on an external device for playback. Then, TC could be on the primary audio track of the DVD.
Is there a video engineer responsible for the show controller who can give you more guidance? Have you seen this done before?
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> …for audiences up to 1000 people… in large concert halls.
> Also, I can not hire a consultant or design engineer to assemble the system.A PA that can handle voice reinforcement for 1000 people in a large hall is no toy – it can injure people if used improperly. A PA such as this requires a dedicated operator, anything less exposes one to significant liability. If the rules say you can’t accomplish this, I would focus on changing the rules.
If you want a recommendation on a vendor who will throw in some specing and assembly with the retail purchase, there are many. Let us know what area you’re in, these folks tend to be regional or local operators.
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I hope someone else on the forum with direct experience in these markets and with these business practices can help you – the world I work in is pretty different.
One suggestion though, and please have a thick skin about this as it isn’t meant as anything but helpful and constructive:
I get the sense that this really bothers you, perhaps more than you realize. Maybe you should consider distancing yourself from this aspect of client relationships by employing an agent or agency for a percentage of gross that would take care of all inside sales and agreements for new work, and licensing for stock. If it makes your life better, wouldn’t it be worth the 15-20%?
Or maybe I’m misreading. Regardless, sorry I can’t be of more direct help and good luck.
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“Plus “work-for-hire” is generally harmful as we all know it in the “design” world. Or at least it is in my mind. Work for hire contracts are ugly, ambiguous and more often than not against the designer and with the client. Allowing one to get as much out of a project as possible without paying going rates for it.”
I guess you are living and working in another world than I. “Work for hire… against the designer and with the client… without paying going rates…” This is all fascinating and new to me. Relationships are more cooperative in the creative and work communities I’m familiar with. I wasn’t aware that there was an ethical way for the designer to be against the client, or the client against the designer, except when the relationship is breaking or broken.
Regardless, please clarify whether you are concerned with selling stock or original photography, and into which markets. Likewise design.
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Point taken – I see how this could be an important feature for PAL users. (all PAL players support MPEG audio?)
There is a place on sonymediasoftware.com for feature requests. Ah, there it is.
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One more thing – don’t depend on email for getting the narrative to your clients. You need access to an ftp server, and ftp client software on your laptop to upload your files so the client can download them at their leisure.
Large email attachments take longer to upload (than ftp), and will sometimes not be delivered depending on the maximum size the customer’s email server is set for. In US corporations, that’s typically between 2 and 10MB, probably most at 3MB. That doesn’t even cover a 30 second VO at 16/44 wav stereo.
Some are doing high-bitrate MP3 for this, which takes quite a bit less storage, less time to upload, etc.
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It sounded pretty easy until you got to “phone patch so my clients can direct”. That adds a significant layer of complexity.
If you’ve established a certain sound with your clients, you’ll need to take your primary mic with you. Also, a stand of some sort, either a desk stand or K&M makes a compact tripod stand that has two telescoping sections instead of just one. With a boom it folds down to less than 30″ long, so it will fit in a suitcase.
You do need good phones. Sony MDR-7506 fold up somewhat and are a good reference headphone. However, I’d not compress and eq only listening to phones. If you can’t have reference monitors with you (got room for a pair of Genelec 1029s? They’re pretty small and are good for cutting narrative) someone else will have to finish, IMHO. But find out for yourself, try them out in the studio, maybe you’ll make it work.
I highly recommend M-Audio USB2 or Firewire interfaces for laptops. Even the MobilePre will do an outstanding job, as well as provide phantom for a condensor mic.
About the phone patch – In the U.S., JK Audio makes a series of little telephone patch problem solvers for remote radio reporters. Haven’t used them myself, check them out, maybe someone else can help with this. Keep an eye on whether such a device will have to be upstream of the interface (probably) and therefore will have to supply phantom power (if your mic needs it).
Finally, there’s a trick I’ve heard of but not tried – get a 2′ x 2′ x 2′ box, open at one end, line it with eggcrate foam (or better acoustic foam). Place it immediately behind your mic. Depending on the mass of your box (was it corrugated cardboard or 3/4″ plywood?) it will prevent quite a bit of the room reverb from reaching the mic, getting you closer to a dead booth acoustic image. The mass is going to determine how much help you get at lower frequencies, most of these are used in home studios where they can use plywood – worth experimenting with. How about lining an empty suitcase?
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Tom, what are you selling in what market?
My experience with stills, film, video, web, events in the corporate market by production companies is that it is all “work for hire”, meaning that upon payment the client owns all rights, except for stock visuals or music which are typically “for use in this production only” but freely distributable within that production (not including broadcast or other out-of-market use).
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A guess – Sony doesn’t include MPEG audio because it is not a mandatory part of the DVD spec, and therefore not all players support it. It is mandatory that all players manufactured to the DVD spec playback PCM and AC3.
BTW, it isn’t correct to say “recompressed to PCM”, because PCM is an uncompressed format.