[Tony]

Bob,

What the heck is going on don’t you read the manual???

And I thought those newbies who keep asking those lame questions about what is the cheapest way to input analog into the Kona 2 or why do I need a TBC were bad.

Just kidding,

Tony Salgado

[Tony]

Blowing up the G4 is not enough I want to see him blow up his apartment. After he is homeless he could apply for welfare and not have to work at all.

A professional engaged in the business of editing for a living need not beg for money to allow themselves to profit from the donations of others.

Why not sell the G4 and invest in new gear. If he is not making enough money to justify the cost of a G5 then he does not need one nor can he afford one. His business is a for profit business which means either run the business to produce a profit which enables him to reinvest in new gear or use the same gear until time allows the capital to purchase new gear.

Blowing up the G4 is stupid given the fact he could use it for his business as a 2nd workstation if he did actually buy a G5.

Tony Salgado

[Tony]

Danny,

The wife is the most important person to consider because she would have never accepted you missing the kids for two reasons 1) she specifically told you to shoot it and 2) never say no to a female client after she tells you to do something or else you will never hear the end of it.

You cannot refund the last payment since you could not be at two place at once with one camera.

If you provided the client with a quality product and delivered the tapes on time then you have fulfilled your obligation.

Move on to the next client.

Tony Salgado

[Tony]

Hire a “quality effect editor” who can build the effect for you.

Tony Salgado

[Tony]

David,

I recommend setting up a budget based on a per day shooting cost not hourly. Do not submit a flat bid or else you will lose your shorts on this job. I have found some clients over estimate the amount of time they think it will take to shoot a project because they do not know how to efficiently put together a shooting schedule. However in your case it may be different because certain elements or personell may not be avaiable until a certain time or date.

It should not matter if you shoot four hours or ten hours a day the cost should be the same to cover the expense of the crew and equipment. You do however need to budget for labor overtime in the event the crew needs to stay longer than 10 hours for certain days.

If you are hiring freelancers most generally have a minimum per day billing amount and will not consider working for one hour here and there.

Since the details of the job are vague you can only bid properly be estimating the job on a per day cost or else you will underbid yourself.

Good luck,

Tony Salgado

[Tony]

DF timecode is the standard for broadcast programming.

However for short material such as 30 sec spots NDF or DF will be ok.

DF is essential for program masters such as 1/2 hour or longer in which the exact time (in reference to clock time) is necessary for the proper timing of commerical insertions or program breaks.

Tony Salgado

[Tony]

Dave,

What video did you hear this music in? Was it a corporate video or non broadcast video?
Why not contact the video producer and ask if the piece was a custom score or stock music.

When you found out let us know who the composer or source of music is.

Tony Salgado

[Tony]

Mitch,

The 1500A will only play DVCPRO via the component outputs not firewire.

I understand the Panasonic AJ-SD93 deck will playback dvcam,minidv,dvcpro,dvcpro 50 and has firewire as well as SDI and analog options.

I have not tested this unit yet but would like to know if dvcam will playout the firewire output.

Tony Salgado

[Tony]

To avoid confusion in SD make sure the bars recorded on the HD masters are 75% saturation not 100%.

The timing I have used for air masters is as follows

1) timecode is DF
2) black from 58:00:00- 58:30:00
3) one minute bars and tone 58:30:00- 59:30:00
4) black 10 sec 59:30- 59:40:00
5) ten sec slate 59:40:00-59:59:50
6) Countdown 59:59:50-59:59:57
7) Programs starts at 01:00:00:00

Never send out discrete audio tracks for broadcast they should either be mixed down to mono or stereo depending on what the broadcaster has requested.

Setup is only for analog formats such as betacam sp, vhs, 1″, Umatic etc.

Tony Salgado

[Tony]

Bart,

How are you dealing with Jam sync timecode issues? How will you feed tc to all the workstations using your method?

The only other option I can think of is Virtual VTr which if I recall correctly had the ability to deal with multiple streams.

Tony Salgado