Walter Biscardi
Forum Replies Created
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[Todd Terry] “Exactly… the cable network is paying for the production costs… ergo in that scenario the cable network is the producer. They do own the show, but in that case they own the show not because of simply where it aired, but because they produced it.”
No, they don’t actually “produce” the show. The shows are produced by third party production companies. In the case of “Good Eats” you’ll see that the producer of the series was B2 Productions. Alton’s own company.
But everyone involved in the show has to sign over all rights of all their work to the Food Network. Food only “produces” the series in the sense that they only pay for it. Very few of the networks actually produced their own programming.
It’s rare a cable network series is produced that is not wholly owned by the cable net. I think that was the model when they first really started out and it has stuck through the years. That’s the major reason I’m moving away from cable and broadcast altogether with my new venture and going directly multi-platform delivery.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Todd Terry] “It ALL DEPENDS ON THE DEAL, but television programs are generally owned by the producers of the show, not primarily by the networks on which they appear. SOMETIMES a network will own a show outright, but that’s highly unusual. Usually the producer owns the show and the network might own a piece of it, or the producer owns the show outright.”
Actually if you’re talking Cable Networks, it’s completely the opposite. The networks own the shows, not the producers. Scripps which owns Food Network, Travel Channel, HGTV and others owns pretty much all of the programming outright. “Good Eats” which I worked on, is owned by Scripps, not Alton Brown who created and produced the series.
This is true of just about every cable network I’ve ever pitched to. If they pick up the show, they pay 100% production costs and walk away with ownership of the show free and clear.
If you’re talking traditional broadcast network, then yes, usually the networks are licensing the shows and the ownership remains with the Producers.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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[Greg Ball] “Thanks Walter. When we’re shooting at our client’s building or plant, we always give them the option of what’s most comfortable for meals, such as sending out for food, since we often do not know what’s nearby. Also it takes less time and expense to “order in” than have our crew travel out and order a meal.”
Yep, we always order in when at client locations because you don’t want the crew to scatter. Or sometimes we’ll bring lunch with us if that’s easier so we can keep setting up while setting up the lunch. WE bring large coolers filled with sandwiches, salads, etc…. But again, that’s always included in the budget. We have a set dollar amount for lunches, dinners and such that we include in every budget regardless of the location.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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We include the meals in the budget. We have a standard rate of $X per breakfast, lunch or dinner and simply include that as a line item.
If the client offers to pay for the meals directly during the shoot we remove the line item.
But lunch / dinner / meals are non-negotiable.
The only thing we put in the budget “to be paid by client” would be any travel, mileage fees. But something as simple as meals should be directly included in the budget.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Transitions are easy in Resolve, no problem there.
As far as composites, generally when you send something to Color that is all done so the colorist is compositing the final scene.
Don’t see an issue with either of these things.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Are the extensions .mov or .mp4? I believe there are issues with .mov unless you have the Quicktime Player.
.mp4 is supposed to play natively in Windows Media Player, Flash Player, etc…..
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Sounds like a codec issue Mac to PC and I’m assuming most of your Mac files are probably ProRes. If so, you’ll need the codec on the PCs so you can read it.
As for the reconnecting issue, that’s because the Mac and the PC see the SAN volumes as two different things. Same here with our Dell and the Macs. On the Macs it’s SAN 1, SAN 2, etc…. while on the Dell it’s E:, F:, etc….
With Premiere Pro CC all we have to do is point to one file and PPro finds all the rest of the files on its own. With CS6 you pretty much have to point to each and every file individually.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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You have to be smart and truly understand how the laws work and what you can and cannot do legally. The guys at Yonder Blue Films are absolutely freakin’ amazing with their roster of quad copters and cameras. They’ve shot for pretty much every broadcaster and filmmaker in the US.
The only way to truly do this correctly is you have a pilot and a videographer. One person MUST be concentrating on the flying to keep things safe. The Videographer controls the camera and that’s all they do. Pilot always overrides the videographer.
When you do it correctly, and keep the drone in line of sight, keep it under 400 feet and do everything else you’re required to do, the work is amazing. Those smaller the pilot is also the videographer is where things get dangerous and sloppy. Are you concentrating on the shot or properly concentrating on the copter. You can’t do both correctly at the same time.
You also NEVER fly over people. NEVER. When Yonder Blue shoots scenes with a lot of people they always fly the periphery.
We’re going to see if we can get them back to the Southeast Creative Summit in 2014. Their workshops were among the most heavily attended, especially the one that answers many of the questions you ask in your thread.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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Super simple way is to do what we do and have been doing for two years now.
Make a flattened Quicktime Movie of your timeline. Either ProRes or DNxHD.
Create an EDL of your timeline.
Send both to the Resolve colorist.
They will be able to cut your entire timeline up in no time to do the color. Any wonkiness in your EDL will be handled by simply Scene Cut Detection.
They grade and send the timeline back to you.
Super easy. Been delivering the PBS series “This American Land” that way for two years.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals
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I started working with a business coach a few months ago and we’re completely changing the way we do business and where we’re pivoting. He pulled me back to a laser focus on where to go in 2014 and it’s something I’ve been thinking about for a while. We’re going heavily into original production.
It’s a completely new concept but fortunately I have a lot of very talented friends around the globe who are as excited about where we are going as we are. So how will 2014 turn out? I’m not sure but it’s going to be a very exciting ride, the most exciting of my career for sure.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaCraft and Career Advice & Training from real Working Creative Professionals