Will Greenwald
Brooklyn, New York, United States
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My first novel is out now on Amazon! Alex Norton: Paranormal Technical Support is pretty much what it says on the box. He's the IT and wiring guy of…
My first novel is out now on Amazon! Alex Norton: Paranormal Technical Support is pretty much what it says on the box. He's the IT and wiring guy of…
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Thank you Anne Stych for this wonderful write-up in Bizwomen about my new children's book series Hidden Gems for Kids. “We’ve come a long way in…
Thank you Anne Stych for this wonderful write-up in Bizwomen about my new children's book series Hidden Gems for Kids. “We’ve come a long way in…
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Noah Kadner
Please join us this Friday, April 26th, at 10 am PDT for a special episode of Virtual Producer! We'll be chatting with Bryan Pratte about Hallway, creator of Avatars supercharged with artificial intelligence. Please reserve your spot on the event page now and join us live! You can answer questions, network and comment, and we'll reply live during the show. If you're at all interested in the possibilities of AI, this is the episode for you. And here's the event link for more details: https://lnkd.in/gyHT8nEn #virtualproduction #linkedinlive #generativeai #artificialintelligence
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Zeb Chadfield
🎬 Here’s a quick look from a recent Zoom session, diving into DaVinci Resolve Collaboration! We covered essentials like bin, timeline, and clip locking, plus workflows for backing up and generating proxies on location – allowing remote team members to start editing collaboratively while a shoot is still in progress. In a challenging market, making budgets work can be done with smarter tools. The added efficiencies are undeniable, and if you’re looking for guidance, The Finish Line is here to help! 😋
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Jill Snider
Do you consider yourself an aficionado of Horror? Do you like to spend your time watching scary films? Do you like talk to characters on screen about their decisions on entering spooky old houses? Cranked Up TV is for you! If you are a filmmaker with some Horror Films that need to be seen, we should talk! #CrankedupTV #Horror #streamingservices #independentfilms
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Bill Cammack
I'm beginning to see why a lot of video editors harp on hourly rates. It's because they suck so badly that it's going to take them forever to do work. I'm watching these "tutorials" and I'm like why didn't they do this or that? 🤷♂️ The problem is that a lot of people stop learning as soon as they know which buttons to press. 🥱 That isn't the point. The point is how to get the concepts out of your mind and into the computer as efficiently as possible. 🦸♀️🦸♂️ I'm like oh it's no wonder it takes 9 months for people like this to edit a 90-minute film. 😂🙄 They waste so much time being inefficient that they don't get much done during a day, which is why they need to get paid FOR THEIR TIME because otherwise they would go broke. 💸💸💸 If you know what you're doing, you set up your deal PROPERLY with - Scope - Budget - Deadline - Payment Schedule That Way, EVERYBODY knows what they're giving and what they're getting and when they're getting it. 🤷♂️ You also now have METRICS as far as whether one side of the deal or the other isn't living up to their end of the bargain and you can discuss it properly. ==== I wanted to write about this because I've been teaching myself DaVinci Resolve 🧙♂️ for the past month or so 🤓 and now that I know how the program works, I can't find good information about how to do what *I* do🕴️which is storytelling via video and audio, because the people making the tutorials suck at what they do OR they aren't working on anything serious to begin with. Resolve is like flying a plane, whereas Premiere and Media Composer are like driving cars. 🏎️ It's all well and good to make these "look at the new features" videos 😂 except YOU don't know what to do with the new features OR the old features because you've never worked on anything important. I used to cut hour-long videos for television broadcast (44:30 plus commercials) in 8 hours, daily. 🥱😴🛌 Maximum 2 days, such as if revisions and approvals were required after the first day. At that time, I used Day Rates. Except at that time I ALSO used to have to travel to the client sites and stay there for 8 hours per day (unless I offered them 1.5x overtime and 2x after 12 hours) Now that we're in the age of REMOTE WORK, you can work 16 hours a day if you feel like it and finish your project in one day and get pizaid! 🍾😁💰 Get paid for THE VALUE you're bringing your client. NOT for the amount of TIME you spend providing that VALUE because Nobody Cares. In Fact, the slower you are, the less you deserve to get paid.
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Bill Cammack
Here we go again! 😂🤡🤦♂️ How do you not know what the downstream process is BEFORE beginning editing and even before FILMING??? 😂☠️ If you aren't any good at editing, edit IN RESOLVE and just send the Colorist the exact same file that you edited. 🤷♂️🤪 I have reasons for utilizing Premiere because I'm insanely faster with that program. 🦸♂️ If you're just as slow with Resolve as you are in Premiere 😴 figure out ahead of time that you're going to finish the project in Resolve and USE RESOLVE TO EDIT! #VideoEditing is NOT one of these situations where you can figure things out LATER because you may have painted yourself into a corner you can't get out of. When you are making up the original concept of how you're going to achieve your goals with this project, you have to figure out POST-PRODUCTION during PRE-PRODUCTION. #FirstWorldProblems #WhereDoTheyGetThesePeople? 😂🤦♂️
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Zach O'Connor
LogoTV.com (among other Paramount networks) has been scrubbed and erased, as was Logo's editorial site Logo News (which the URL is now for sale); formerly known as NewNowNext. It seems to be a strange way Paramount is deciding to celebrate Pride Month: Erasing nearly 20 years of LGBTQ+ content, archived community history, editorial content, reporting, storytelling, and queer representation from the internet. The network that birthed the iconic franchise RuPaul's Drag Race is officially dead, and is used now is a forwarding tool to push to Paramount+. What's also sad, as I review the coverage, is the lack of mention of Logo in mainstream news outlets. This once again shows the need for media *by* us and *for* us in the community. With so many folks in power at the company who are from the community, both in LGBTQ+ representation and former positions at Logo, one would assume that they would see the importance of keeping Logo alive and well - at least up and running. But, I was wrong. Enough about them, I want to take this moment to uplift and spotlight those who made their mark at Logo. Who, like me and my former teammates, worked tirelessly to create content for and uplift the LGBTQ+ community. While this is a dark day to see it gone with the flip of a corporate switch, I know our work made a positive impact somewhere for someone along the way. And to those people, I want to wish them a #HappyPride.
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Ken Romano
Predictability. That's what a lot of Stacker's publishing partners are looking for. They want to know the same refreshed content will come down the wires at the same time each week. They can anticipate it. They can build a reader engagement strategy around it. And they can confidently redeploy reporters to other projects long-term. I learned how important these franchises are first-hand when I was at The Associated Press and tasked with changing how we structure our lottery results. I still have battle scars from that project. 😅 But beyond horoscopes, lottery results, and sports scores, what other franchises can we develop? Last year, Stacker produced a monthly series on the items in grocery stores that were shifting in price the most. Our gas prices series continues to be picked up regularly. And we're excited to now be partnering with Backstage, a powerhouse in the entertainment industry since 1960. Every week, we'll syndicate casting calls in each of the 50 states courtesy of Backstage. And it’s not just for professional actors…anyone looking to make a side hustle as an extra should keep an eye out too. ❓ What other weekly fixtures or franchises would engage YOUR readers the most? https://lnkd.in/eGbPDait
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Bill Cammack
ok. 😂 If you've been reading along, you know I **NEVER** use Proxy Files (smaller, linked versions of original video files) because my M1 doesn't need that, but I see these questions come up so often that I'm going to have to do some experimentation and figure out what I personally think my "best practices" would be IF I ever used Proxies. 🤔 This Poster offers an interesting use case = 50TB of footage that he or she can't or won't bring on a month-long trip. 🧐 Obviously this makes no sense to me 🤪 because just take the drives with you! But let's say hypothetically that was impractical. I'm going to have to figure out my favorite way to make Proxies so I can say something on these threads OTHER THAN don't use Proxies! 😂 The main issue I can see with Proxies is if you're doing a lot of resizing of the frame sizes, such as zooming in and out and panning. Other than that, who cares? 🤷♂️ Can you see the subject matter or not? I've suddenly become interested in this topic because even though I still have no intention of ever using Proxies 🦸♂️ I would like to be able to contribute something to this conversation that I KNOW works properly.
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Lizzie Gillett
I saw the Brian Eno doc (ENO) and loved it! It’s such a joyful, funny, intellectually stimulating, and incredibly well-made film: it had me riveted right the way through. I didn’t expect such a life-affirming and fun film. I also enjoyed thinking about some of the big ideas raised in the film (Why do humans like music? Why do we make art etc?), especially because these ideas are articulated in a light-hearted rather than a pretentious way. I walked away inspired to be a more creative producer and try to push the envelope more. But ……..did I see the same version of ENO as you? Probably not! The film is what the filmmakers are calling a “generative documentary” so they have filmed and cut many scenes about Brian Eno – and his life and work – but a different version of the film is created for each screening. A new software program (created by the filmmakers) picks the scenes and the order. This follows Brian Eno’s ideas and work around generative art: he sees songs and artworks as planting a seed rather than being one finished piece that stays the same forever. For me as a producer, one of the most satisfying parts of making docs is that you work on them for years, then you all agree on the very best version of the story and eventually the film is finished and it’s the same every time people see it. So, I’m not sure I could deal with my own anxiety following this creative process: I kept thinking "what if the “best” scenes didn’t appear in the film for a super important screening?!?" Argh! I asked Exec Producer Natasha Dack about this afterwards and she said it’s about surrendering to the generative art process, which is part of Brian Eno’s innovation and process. Plus she explained 30% of the film is always the same (I think it’s the beginning, middle and end) and the other 70% is different each time. All I can say is the version I saw was bloody brilliant and I highly recommend it! https://lnkd.in/e_aZkhP6 #documentary #BrianEno More info here: https://lnkd.in/eVEfgUfB Congrats to Natasha Dack Ojumu Gary Hustwit and everyone involved in this fabuluous film!
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Bill Cammack
This is a weird question but I understand it. 🤪 I think this person is trying to edit Multicam sequences instead of what they're SUPPOSED TO BE DOING, which is to NEST THE MULTICAM and edit in a regular sequence. 😂🤦♂️🙄 The Multicam is responsible for the switching OF THE VIDEO, NOT OF THE AUDIO! 😂🤪 You switch the audio in the regular sequence with the Nested video by Enabling or Disabling particular channels. 🙄 You can clearly see which one is the Lav and which one is the Boom or whatever because they have different visual signatures when you look at them. Also, personally, I have physical audio mixers so all I have to do is press buttons to figure out which is the proper channel via Mutes and Solos. I wouldn't ever try to do what this person is saying because you never know when you're going to need to switch audio channels when your client requests it, so you don't want the audio embedded in the Nested Multicam. 😂 On top of that, if you use audio that's already Nested, you can't individually send channels to submixes, such as Dialogue, Music, Narration, and FX. 🙄 People are just really lazy these days. 😂 - Nest the Multicam video - Keep ALL of your audio tracks in the regular sequence with the Nested Multicam - Mute the tracks you don't need - Route them to submixes - Print
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Carrie Molay
Prebid.org #PrebidSummit2024 The Battle Against Bad Actors Keith Candiotti/Optimera On the publisher perspective. What is a reasonable expectation that publishers should have about feedback from SSPs? "A publisher is like a car driving down the road without any posted speed limit. Publisher is pulled over and given a ticket for speeding. Publisher: Officer, if I knew the speed limit, I'd comply. Officer: If we posted the speed limit, you'd break it!" There needs to be more communication. Publishers should not be penalized for small missteps that are often unintended and corrected. #Intent In a way, intent doesn't matter. Mistakes happen but just like a retailer has an obligation not to put bad items on the shelf, bad inventory is bad inventory. SSPs are responsible for quality supply. Outcomes will drive clean up. #Incentives to create quality outcomes: Optimera we sniff inventory to see if any of it gives off a "naughty" whiff. When the buying hose is pointed at good quality inventory, whether it is #Direct Sold, #ProgrammaticDeals, or the #OpenExchange, it all works the same. Prebid.org can be the scaffolding to increasing quality inventory!
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Jason Thomas Spencer
I'm not coming down one way or another on AI with this post, but it's worth sharing a Washington Post article from yesterday headlined "LinkedIn Is Training AI On You - Unless You Opt Out With This Setting." According to reporter Chris Velazco, "Last week, the professional network added a new data privacy setting that caught many by surprise. By default, it granted itself permission to use information shared on the service to train its artificial intelligence. Unless you toggle this new setting to off, LinkedIn considers everything fair game — your posts, articles, even your videos." AI, in its various forms, is here, whether we like it or not. Some see it as an invaluable tool, others see it as a technological job killer. Either way, we should know when a company is using our content to train its AI software, and I don't mean, "It's there if you read the fine print." Be explicitly clear. Because some folks out there are very excited about this and want to be a part of improving the technology, while others want to keep whatever remains of their privacy. Let us make the choice. Don't opt-in for us, LinkedIn. And for those who would like to opt-out, I again will quote the WaPo article: "To opt out, log into your LinkedIn account, tap or click on your headshot, and open the settings. Then, select 'Data privacy,' and turn off the option under 'Data for generative AI improvement.' ”
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