[Todd Terry]

Cool, awesome.

No doubt that is a result of that recent firmware update, as I know it dealt with that viewfinder magnification feature as well.

Hopefully the OCD output is not limited to HD-SDI only, as well.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

Sounds like you may be able to capitalize (if you choose to) on your client’s naivety a bit.

It’s not too unusual for still photographers to be paid for a shoot and then have individual shots licensed (and paid for) on a per use basis, depending on the market, duration, medium, etc. It’s not very common in the cine world.

Typically a licensing situation would arise when there was footage that you already owned or had acquired that someone wants to use. Or, I suppose, if you chose to shoot for a client and then license the shots they want as needed.

For a client to contract for a shoot, pay the full day rate for that shoot, and then have to license the footage for use is, I would say, fairly unusual (maybe not unheard of, but close). Usually in a situation like that, after the shoot the client owns the footage and can do with it as they choose.

We actually have two shoot rates here… one were we own the footage, and one where the client owns it. We don’t make too much profit with our “base” shoot rate because the overhead is pretty high… but because we usually handle projects from concept to delivery we gladly shoot at that rate because we get all the pre-prod and post work, which is much more lucrative. If someone wants us to just shoot and hand them the footage, we happily do that as well at a slightly higher rate (actually, it’s a third more). But those are just different rates, I don’t consider that “licensing” the footage. If that client chooses to come back here for any additional production or post work using that same footage, there are never any additional licensing or usage fees.

So to answer your question how much to charge for the licensing… I’d say there’s no real answer. Whatever you are comfortable with and/or they will pay. The “usual” amount in a situation like that is zero… but sounds like your client doesn’t know that.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

I haven’t looked in a while (I don’t have a GoPro, so there’s been no need to), but there used to be a lot of different GoPro lens kits on eBay, different focal lengths, etc.

Note though that all of the ones I saw were not exactly swappable lenses, but definitely “hacks”… permanent (or at least semi-permanent) lens replacements, for those brave enough to crack the camera open and change out the glass.

I guess the theory is that the GoPros are so throw-away cheap now that you could just keep multiple ones with the various different lenses.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

I know there is a firmware upgrade that I haven’t bothered to install yet.

I do know that it affects one viewfinder function, allowing the magnification area to be selectable rather than just a center punch… maybe it addresses some of these other issues, too. I’ll give it a try at first opp.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

Simon… sounds like it’s not an issue for you anymore, but for what it’s worth….

I’ve looked at it a bit on my camera menu while on two shoots since I last posted… unless I’m completely missing something, there appears to be no way to pump out the on-screen display info to any external viewfinder or other monitoring source. If you want to use the zebras, I think you have to use the on-board monitors.

I know for a fact that if you toggle on the “view assist” mode when shooting C-log there is no way for that view to appear on an external monitor, it is viewfinder and on-board LCD only… so apparently that is the same protocol for the other info as well.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

I second John’s advice… rent a Diva.

I also concur about LEDs. We are now using LEDs for probably 90% of our lighting and I do not have any trouble with color balance or green spikes… at least nothing that is not within the easily-correctible range.

Don’t worry about light levels with the C100. Canon has made that almost a non-issue, the camera is so light sensitive. I don’t shoot with the C100, I shoot with the C300… but it has the same sensor and the same range. The picture looks fantastic all the way up to about 16,000 ISO, and even above that (up to 20,000) it’s still what most people would call perfectly acceptable. With the C series (C100/C300/C500) you don’t really get any noise at all until about 12,000-15,000 or so, and even then it is very organic, much more like film grain than video noise. You can literally shoot in a cave with three little birthday cake candles and still get a great image… and that’s not an exaggeration.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

[Simon Cox] “However I’ll be using an external viewfinder with the C300…”

Well Simon, don’t take this as absolute gospel without checking, but you might be out of luck there.

I don’t think there is a way to display all the viewfinder information (zebras, peaking, all the various data) on an external monitor or viewfinder… I believe all that info will only appear on the camera’s native LCD screen or in the eyepiece viewfinder. I’m not aware of a way to pump that out to anything other than those two.

Maybe I’m wrong… actually I hope I am because I can foresee an occasional need to do that. Although it’s never really come up here before because we almost always prefer external monitors “clean” so I haven’t explored to see if there’s a way to turn on the on-screen data with external sources. It’s certainly worth checking your camera menus and the manual to see. I have a shoot in about an hour and I’ll poke around in the menu if I have a chance.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

I’ve used this analogy before, Scott, and I’ll use it again…

You can’t get stopped for speeding in your friend’s car, and tell the cop to send the ticket to your friend because he gave you permission to speed and would “take the rap for it.”

You can’t transfer culpability. If you could, there would be a lot more professional hitmen.

It may seem like it should be solely your client’s problem and not yours, but if you are knowingly producing a piece with unlicensed music for their use, even if you are not the one doing the actual broadcasting or distribution there is still liability.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

I’m so touched by all my friends’ congrats and warm wishes here. That’s why I got into plastics processing in the first place.

Thanks all!

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Todd Terry]

[Simon Cox] ” …but where do you now judge
exposure?”

I shoot C300 but honestly I never turn the zebras on (I’ve just never liked working with zebras).

If you are shooting C-log I think it’s pretty essential to judge exposure by the waveform monitor. I’ll often toggle it on and off when shooting with other profiles, but when shooting C-log I’ll typically just turn it on and leave it on. It’s the best/easiest way to guarantee good exposure.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com