Tony
Forum Replies Created
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You should contact the graphic artist and inform them they have created work which is not broadcast safe.
It is their responsibility to comply with established broadcast standards.
Also why can’t you just correct the footage overall manually via the color correction filters.
Look at what is the hottest whites, blackest black, and most saturated colors and set the levels manually.
Tony Salgado
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Consider buying a used monitor.
You might consider a 14″ Sony PVM series monitor these units can be picked up used for anywhere between $400-700 used.
A quality monitor will be a good investment if you really desire to do critical quality work for your clients.
Tony Salgado
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Michael,
“Sounds” to me like we are going around in circles.
If you got something to offer say it here on the Cow.
Be direct, don’t be bashful or shy.
Now speak up I can’t hear you cause my Googlevision TV volume is up too loud.
Enuff said,
Tony Salgado
PS I do believe Ty deserves the real credit for “Google” directing everyone to the noisy F900 thread since he started it.
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Ed,
This is exactly what you should do when committing to becoming R&D for Apple.
I suggest using Carbon Copy Cloner to back up you entire boot drive and then use the clone to do the upgrade on.
Never touch your original boot drive.
I do this ever time I venture forth to upgrade to the next big Apple OS screwup.
I learned the hardway from the early days of OS X.
Tony Salgado
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It has always been standard operating procedure for insert editing to black and code tape in advance. This is not a big deal.
What I do miss from the old Video Cube days is the ability to do a crash record and output timecode from the timeline.
This method allowed using simple crash record machines to lay off entire sequences.
Why the heck Avid and FCP are still not able to do this simple task amazes me.
Tony Salgado
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Michael,
You will find that working at night with the junior colorist will cost less if you are willing to work the late hours.
The first rate quoted by an account executive at any facility is never set in stone if they really want your business. You need to be an aggressive wise producer/consumer and ask for a better rate based on their schedule, people, fact you will pay in cash or cashier’s check.
But you must be reasonable and not ask for the $500/hr room at $50/hr.
You could also consider getting a best light transfer and finish off the color correction using FCP or other color correction system on a NLE.
Good luck,
Tony Salgado
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Well for starters …..
Regardless if you are shooting on film or video you need to shoot with HMI’s such as 6K, 12K and 18K’s in addition to reflectors, silks etc. All this would be able on a full equipped grip and lighting truck.
Shooting in the middle of the day is about the worst time to shoot if you intend to deal with a tough contrast range.
What were you budgeting for (2) reflector, a lowel DP kit with (4) 1k’s, small station wagon for the two C-stands and one sandbag?
Tony Salgado
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Unless you have a DIT or VC along with you to shade via a wfm (color correct and set exposure) you can shoot ENG style by using the zebras in the viewfinder for setting exposure. If you intend to do all your color correction in post then shooting ENG style is quite fine.
The waveform would be useful to avoid clipping or crushing blacks but you could train yourself to read the zebras properly for avoiding clipping whites.
The 9″ monitors are low res and are only really useful for crash and burn situtions where size and weight and DC power are an issue.
If your have ac available and are not running around alot the minimum size I prefer is a 14″ but my favorite is a 20″ HD monitor.
Used 700A are going for under 35K.
In my opinion buying an interlace camera such as the 700A is not a wise idea at this time as the next generation of HDCAM camcorders (XDCAM HD) is around the corner. Unless of course you have a job that will pay off the camera in less than a year and you can sell the camera for a decent return.
Tony Salgado
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You will be fine until the client accidentally shows the video to their uncle who is a music industry attorney and decides to sue your #ss for copyright infrigement just to make you an example.
Consider the case of college students sued for illegal downloads. The same guy who advised you it would be ok in this case most likely gave the same advice to the kid who now has to fork up 25K.
Copyright infrigement has nothing to do with if a product is broadcast or not. Theft of intelluctual propery is theft regardless of where it shown. What matters is how much risk you wish to take and how you can defend yourself once you are caught.
However leaving the music playing in the background which was captured during the actual event is less likely to be a problem then using copyrighted music on top of the video since you were documenting the event and the client needed to have cleared permission to use the music at the event.
In this case you could get write a disclaimer on your production contract
that the client is responsible for copyright clearance of location sound/music issues.Tony Salgado
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One of the secrets to getting a good deal is the art of wheeling and dealing. If you do not allow money to control you then you better be a damn good deal maker.
Hire an experienced producer who has many industry and facility contacts.
That is how many productions find the money they don’t have to make their production a reality.
The high end labs charge more because of the experience and caliber of their personell, as well as having state of the art equipment, a full time engineering staff and lots of overhead.
Tony Salgado