Jonesy Jones

Would love your sage advice. If I were bidding on a gig that included local interviews/content, that would be easy. However, I am going to be bidding on a gig where the interviews/content requires traveling, and I'm wondering how that should affect my bid. For simplicity sake lets leave traveling expenses out of the equation. So, do I simply bill for all days that I'm not able to be hired for other work? Do I discount traveling days where no shooting is happening, just travel? Do I only charge for shooting days, making the traveling bit irrelevant?

I was at NAB and I spent some time looking through, or trying to look through, the cloth that was draped over the mystery camera. Here's what I can pretty confidently say. It has an ND wheel. Well, it has a wheel, and it's right where the ND wheel would be. Could've been Iris/Gain I guess. EDIT: the wheel that I saw was located similarly and resembled the ND/Iris wheel on the FS5. Thus, I assumed it was an ND wheel. However, the LT has a wheel in the same location, but it's an Iris wheel, and it's ND wheel is on the very front. But the wheel I saw did not look like the one on the LT, more like the one on the FS5. It has 2 built in XLR's and physical trimmers, both accessible from the rear of the unit. It has at least 2 physical toggle switches, like the switches on the UMPro or the other cameras from the Varicam line. It has 6 threaded mounting points on the top, in addition to the ones being used/covered by the handle. Seems like they borrowed some from the Varicam line for the body design. Let's hope some of the internals were borrowed too. I prodded the rep. It's definitely priced under $9K. If I had to guess I'd say no higher than $6K.

Will definitely be spending time in the lens section this year for sure. Anyone else with preguntas?

Do you all remember the Pepsi challenge? I suspect polls like these are similarish. I think there's a difference between a taste and the whole thing.

I'll be in NAB in a couple weeks. I'll meet a boatload of people. Everyone of them will hand me their business card and expect mine in return.

No problemo. I really enjoy it.

Yes. Probably no answer from them, but I'll ask for you.

NAB 2017 is just under a month away, and I'll have the opportunity to be there again this year. Really looking forward to it. If you are not able to make it and have some questions you'd like me to ask specific companies or exhibitors I'd be more than happy to do so for you. In the past I've only been there for the first 2 days of the show. This year I'll be there the entire week, so I'll have plenty of time. We've got nearly a month to come up with questions, so add to the list as they come to your mind. And of course, I'll post all answers and responses here on EOSHD as I get them from the vendors. Cool.

Yes. And why they don't just offer raw in the first place is crazy. DJI anyone????

Well, that will be one of my most anticipated UM46 tests.

IMHO, the value of FCPX is in speed, and nothing else. And not just rendering speed either, which it does very well. What Apple has always been good at is doing things with less clicks. Something as simple as lowering the volume of one phrase or word in dialogue is sooo easy in FCPX. Whereas the process is so painful in Premiere that I avoid it at all costs or I migrate the audio to Audition. That is time consuming too. I must admit that I'm currently not a FCPX user, but am planning to begin using soon. From the videos I've seen, the many little time saving things are very valuable in many projects. I won't be able to get rid of Adobe though, I use After Effects a ton, so I'll need both systems.

I've heard this too. It's silly really because the ML hack does nothing but increase their sales. Do you guys think ML will get 4K raw out of the new 5D? Too much data to squeeze onto those cards?

I don't have an answer but this is a great idea. I also don't have the assist yet, but have been looking to pick one up soon. This kind of LUT list would be super handy.

Well, this is a great topic isn't it. Here are my experiences, but everyone's mileage will differ. First, I have obtained a great deal of all my work over the years from other filmmakers. I discovered that one of my best sources of opportunities came from other filmmakers who had landed a gig and needed my particular skill set for that particular project. This ends up working out great because they, not me, end up dealing with the client. And when the client changes their mind or whatever and it affects my workload, those filmmakers recognize this (unlike clients) and they compensate me for it. So it's kinda like all the benefits of filmmaking without any of the drawbacks. Second, I have been fortunate enough to find a very very small handful of clients who bring me nearly all of my income. Though there are still surprises here and there, once you've worked with a good client on more than one project, you develop an understanding. This is another ideal situation. Lastly, for the rest of the clients whom I do not know or haven't worked for, my plan is to educate them quickly. I educate them on the filmmaking process and I work that process into the agreement and expectations. This centers around having them sign off on each phase of production as we complete it. If they liked the script, and then changed it drastically later, they know they'll need to pay for that. Of course, all and any of the above revolves around a solid agreement that manages expectations and protects you. In other words, what you do before you actually begin to work with a client will most always determine how the project turns out and your relationship with the client once the project is finished.

Not trying to resurrect the discussion, but you were clear that I wasn't suggesting a Fidel Film right? I mean, I did title the thread that way, but no one would have recognized whatever the name of the guy the article is about. But yah, that's the film I was talking about, not Fidel. But obviously Fidel and his legacy would be a part of the story, and since the protagonist would be the torture victims, it would definitely not be a pro-Fidel piece. After thinking about it, you probably inferred all of that. I don't know. On one hand I agree with you, but on the other... I feel like if I made a pro LGBT film it would get shared and liked and probably be accepted to a plethora of festivals just by default. I know I can't use Vimeo Staff Picks as evidence of viability, but.... Then again, I know what you mean about the conservative crowd. But I'd say it holds true for any community that you understand. For instance, there is a faith based film about Fire Fighters called Fire Proof (it's cheesier than a quesadilla). But the filmmakers new that fire fighters watch films about fire fighters. There are millions of fire fighters. The filmmakers did well. I guess that's what you're trying to say.

Sorry to rub you wrong. I don't have time either. Have a blessed day.

I wonder the same thing. Perhaps they're not, and just trying to grow their subscription list. At some point it'll become profitable, and I bet an increase in subscription price is in the works as well.

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Are you saying his story is fabricated? Wow!!! Just wow!!! Is this the same cerebral bunch that completely bought the narrative that Clinton had the election in the bag, that Trump would NEVER be in the White House, and that the Republican Party as we know it had imploded and would NEVER hold any power again? Is it fair to say cerebral, but extremely gullible? Do those things even go together? I don't know.

I just liked your post. You are now 6 likes away to moving into 4th on the all time likes list. Then just a couple hundred before you surpass the infamous Ebrahim.

This story is so powerful. It helps give me great perspective on some of the things I consider "problems" in my life.

You make your kids be subjects for your camera/lighting experiments too? The thing about the parabolic umbrellas is that they are 7' in diameter, or less or more depending on your preference. But that 7 foot diameter makes for a very large light source that I've been lusting for a long time. For pure filmmaking reasons the light dome makes total sense. But we are shooting a ton of fashion and the size and look of a parabolic makes sense in that scenario. I haven't made up my mind though. Still running through a few options.

Absolutely perfect. This is all I ask. Just this.

The good part is that we have plenty of space.

Yah, I will probably be getting one of those domes regardless, maybe a couple. But I am really interested in the parabolic application because there is a special sort of look that they give. Too bad the umbrella receiver is so low and far away. Maybe I'll be able to fabricate something just above or below the unit.