[Timothy J. allen]

I have “Video Color Correction for Nonlinear Editors: A Step-By-Step Guide” by Stuart Blake Jones. It covers both Avid and Color Finesse specifically with step by step examples and a CD-Rom with tutorial files. It covers the “why” as much as the “how” and I would highly recommend it.

Tim

[Timothy J. allen]

Yep, it’s probably the red (it’s technically 252R, 61G, 33B) combined with the width of the vector. Where did you get your source files for the “meatball”? I understand that we have a new HD version in the works. (I’ve requested one.)

I can ftp you another meatball or point you to a place where you can get a decent one if that one doesn’t work. (Are you using the animated one rather than the still one?)

Here’s the URL with the guidelines for usage of the meatball:

https://communications.nasa.gov/OCP/Communications%20Tool%20Kit/Presentation%20Templates/Web%20Site/CTK.html
The PDF is located under the hot link called “NASA Style Guide”

Timothy J. Allen,
NASA Johnson Space Center

[Timothy J. allen]

We send our HD programs out to get captioned. Rhino Moon, based in Burbank, CA and Austin, TX has done a good job for us when it comes to captioning HD.

We still had to by an “Evertz HD-SDI/SD-SDI Closed Caption CEA-608/CEA-708 Translator, Decoder & Analyzer” in order to check the work the captioners did before we release it.

Tim

[Timothy J. allen]

What program or plug-in are you planning to use for color correction? IN addition to the previous suggestion, there are also some pretty good “application specific” books out there.

[Timothy J. allen]

I don’t know how large your organization is, but you might want to check out Scheduall. (www.schedulall.com) Their scheduling software is top of the line.

For years, we just used a “shared” Microsoft Excel spreadsheet calendar. Office 2003 will notify users if the “spreadsheet calender” has been updated by other users, or you can set permissions where only certain people can update the calender while others can still read it. It’s not too elegant, but it’s inexpensive and it generally works well.

If you have a small shop and are already using Outlook, you can have multiple calendars that will display side-by side (for instance for multiple edit suites).

I’ve also used the calendars within Microsoft Project. Project is extremely powerful, but it was too bulky for us to quickly teach everyone how to use it.

I personally think that it won’t be too long before the features of shared Google calendars will put the Microsoft solutions to shame.

-Tim

[Timothy J. allen]

Nick,
Our corporate policies suggest that we wear a tie when we are meeting with clients. You’d fit right in. 😉
-Tim

[Timothy J. allen]

“Contracts for the Film & Television Industry” by Mark Witlak is one that I refer to fairly often. My copy is 13 years old, but the basics remain the same. There is an updated and expanded version available.

Laws vary from state to state, so if you want to make sure that your contracts are enforceable, I’d still recommend that you get a media attorney that’s familiar with your state laws to help you draft your actual contracts. The book does serve as a good “boilerplate” and it has helped me gain a better understanding of the basics principals of contract law as it pertains to the media industry.

TJA

[Timothy J. allen]

I’m usually not so blunt, but in my experience (having served in all three roles at different points in my career) the hierarchy is:

3. Sound Designer
2. Editor
1. Director

I suspect that hierarchy leads from the realization that the sound design is a “product” (or service) the Editor uses to achieve his goals towards completion of the Edit, while the entire edited program is a “product” used by the Director to achieve his final goals of realizing the clients objectives.

-Tim

[Timothy J. allen]

Grinner is correct. When I worked at a local broadcast station, we would have someone in-house “format” the movies. Since it was usually cuts only, it was a job that usually went to a newer editor. The idea was that by working on that type of thing, the newer editors could learn about the “art of the edit” rather than just “the art of effects”.

In reality, it usually had to be done so quickly that there was little time for an editor to get too philosophical about the cuts they made.

-Tim

[Timothy J. allen]

Hmmm. How about “Digital Imagery Specialist” or “Motion Imagery Specialist”?

For those places where the titles can be less formal, “Digital Alchemist” might sum it up. 😉

-TJA