Todd Terry
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COW Coin
Forum Replies Created
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Well, as Mike said you probably will have some luck with YouTube removing the existing trailer… but, as you noted this really does you no good, because obviously the footage has already been ripped.
My first question would be, do you know who the offender is (or can you find them)? Step one would be for you (or your attorney) to immediately send them a cease-and-desist letter. That might be all it takes. If that doesn’t work, your attorney can suggest the next-and-more-harsh step… but I think theres a decent chance that once they know you are on to them, they’ll stop using the footage. At least it’s cheap and worth a shot.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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I had completely forgotten that Colin Mochrie was in that. Always loved him.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Walter, apparently your link just points back to this thread.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Well that reply seems awfully fishy….
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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I remember it vividly… and it has been posted here, maybe more than once. Might take quite a deep search to find it, though.
Seems like something Mark Suszko would have his hands on.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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[Richard Crowley] “Have you looked at the Denecke Dcode gadgets?”
Not specifically, totally a fish out of water here which is why I was asking for advice 🙂 I’ll definitely give them a look.
[Richard Crowley] “Recording audio without metering and monitoring is exactly like framing and focusing without looking at the viewfinder.”
Hmm well not exactly. But I wasn’t planning on not monitoring. I can meter and monitor at the camera end, and the boom op can monitor what the mic is getting as well. Not the ideal setup without a separate sound guy, but under these fairly special and very minimalist circumstances it works. And actually… I do focus without looking at the viewfinder all the time (the old-fashioned “Hollywood” way, which is why cine cameras still have tape-measure hooks).
Will check out the Deneckes… thanks!…
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Just a quick addendum to my previous answer to Tim’s question….
We still primarily shoot with the Canon C300 and will continue to do so…. however we’ve just picked up the DJI Osmo stabilizer with the Zenmuse X5 camera (actually we don’t have it in hand yet, it’s due for delivery next Tuesday). We bought it for one special and specific job, but if all goes well I can foresee using it a good bit.
I’ve been practicing and blocking shots with a friend’s Osmo (his has the X3 camera), and it’s pretty phenomenal… so I’m expecting even better things from the X5 and I think it will likely be what we always use for stabilized shots in the future.
Anyone want to buy a full-size Steadicam rig, cheap? 🙂
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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I’m saving that video myself… I’d hesitate to count the number of times through the years I’ve tried to explain to someone how shutter speed is different than frame rate, what the emulation of a 180° shutter is, and all that jazz. I usually just get blank looks. I agree it is not the world’s most obvious thing to understand, but if you think a bit about it it’s not that hard.
And Jon, if you want to use the “narrow shutter” look to make an action scene look more “actiony,” just be judicious about it. In the right hands, it can be very effective (Saving Private Ryan, as mentioned). Overdone though, it’s a very bad thing. I think I first noticed the wave of offenses starting in 2000 with the movie Gladiator, where (in my opinion) overuse of narrow shutters rendered the movie almost unwatchable. Of course, many many other movies have followed suit.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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[Richard Herd] “For me, I like to work in whole f/stops…”
Very curious, Richard… why do you prefer this?
For me personally, one of the beauties of using cine lenses is the fact that the aperture rings have no “clicks” so fractional f-stops are easy. I probably rarely if ever shoot at exact whole f-stops, or probably not even halves or thirds, either, since those in-between settings are just as easy as whole ones.
Definitely not saying my way is right and yours is wrong by any stretch, just wondering what your theory behind that is… I’m always up for learning something new (especially if it makes things better or life easier).
Just incidentally… for the past few years I’ve tried (notice I said tried) to do what many of my top hero DPs do, and that’s not choose/adjust f-stops for exposure at all (well, except incidentally), but rather to choose f-stops for the desired depth of field, and then light (and filter and sometimes even adjust ISOs) accordingly to expose properly. This is a little easier said than done in practicality, but it’s usually my goal. It probably helps that I often prefer to shoot wide- or nearly wide-open (f/1.3 or maybe f/2), so that makes it a little easier.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Totally agree with Shane…
That kind of work requires a certain amount/type of expertise, and it ties up both your time and suite exactly the same as editing, compositing, color grading or any other type of post work.
I’d go with exactly the same as your usual suite rate, as if it were any other kind of editing… it’s not brainless enough to offer any kind of lower rate (unlike something like, say, just capturing tons of video, or doing some kind of render job that can crank away unsupervised or overnight).
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
