Having trouble finding a post in the COW?
Use the new forums search engine and
forums directory archive to find those lost posts.
In spring of '01 the COW was born and the new directory now supports browsing back in time to see what was happening
in those early days. Or, if you would just like to find a post from a couple of months back, it is there as well.
For more information on how the new search engine works click here.
"Jobs Offered - Higher Pay,"
and "Jobs Offered - Low/No Pay."
There are plenty of reasons to look for one kind
of job or the other, and we've made it easy for
both you and the folks offering jobs to line up
the right opportunities with the right audience.
Here are a few from theHigher Pay forum. Although some of the listings in this forum offer pro rates for short-term jobs, most are staff positions with full benefits, including 401(k).
Recent jobs have also been listed in Miami, northern New Jersey, Birmingham AL, Detroit, at CNN in Atlanta, and a listing at NBC/Universal in Burbank that wasn't up for even 48 hours before the job was filled.
Creative COW Contributing Editor Bob Zelin talks about the latest step in the Serial Attached Storage revolution: full RAID 5 protection with read speeds over 350 mb/sec. from Dulce Systems. At least that's what Dulce claimed. When he heard the rest of what Dulce had to say, Bob simply didn't believe them. When he put those claims to the test, he got a lot more than he bargained for. Will you?
The
question was asked in our Cinematography
forum regarding how to get finished video onto film.
Creative COW members particpate in the discussion, giving ideas and
solutions to the process. It's an enlightening discussion that you can
join now.
Well, we've had another member, Abraham Chaffin, join the COW's coding
team and the first job he's brought to the Creative COW audience is our
new articles library mechanism. It's a great new addition to the COW and
simplifies the navigation to a degree that we have never had in the COW
before. It is so logical that those who assisted in its one-day beta
test said that they didn't even need an explanation of how it worked.
You won't need instructions either, it is very fluid and quite common
sense in its design.
With over 830 articles in the COW's Library,
this is a great addition and some of the testers have remarked that
"...there are articles in the Library that I never knew existed here.
This is great!"
What's next? We have been
working with Abraham on the next addition to Creative COW, our new
Plug-Ins Pasture, where you will find plug-ins and much more for your
favorite tools.
In the first of our new series of Creative COW Magazine Web Extras, we expand
on Stephen Smith's outstanding article, Perfect Color Keys: A Checklist.
Stephen's article covers optimizing every option for keying backgrounds, from
green paper to constructing a full green screen area in your studio. One of
the most critical things you'll find in his article is specific advice for
successful lighting, including an easy to understand illustration of ideal
light set-up.
In this Creative COW Magazine Web Extra, we comb The COW's 1.3
million posts to bring you the very best information on one of the most
frequently asked questions here at the CreativeCOW: What's the best way to
key HDV?
By downloading this article now, you'll be a step ahead of the print
subscribers for the magazine, as you can get this issue without registering
for a subscription. But this preview is only good until June 18, so don't
delay! Of course, there's no reason why you shouldn't be subscribed to The
COW magazine already. It's fast, easy, at no cost. We've never sold our
members' names for any reason, and we never will.
If you have never downloaded a copy of Creative
COW Magazine, here is your chance! We are offering
the brand new issue as the very first complete issue
that we have ever offered as a sample for those
who haven't registered. Yes, all of the stories
and features in the new issue are yours without
registering. Download it now.
You already know that The Creative COW is the industry's leading resource for peer-to-peer support. But with over 1,000 posts daily, it can be hard to keep up with it all -- especially because so many great conversations are happening in forums that you might not visit every day.
Well, we can't show it all to you, but here are a handful of the most energetic conversations.
CORPORATE VIDEO Charge by the hour, or charge by the project?
This conversation in the Corporate Video community began with a question about
corporate video,
and quickly became a comprehensive look at managing your business, your money, and most important, your clients. Here's just one sample:
No matter what, NEVER, EVER, believe the phrase: "give us a price break on this first one, and we'll give you more business in the future, it will be good for your portfolio". For me, these "magic words" mean these folks are crooks and liars, best referred to your worst rival. You are an editor, not a bank. Still, if they ask for this, and you would walk thru fire for the chance to work with the particular client, turn the phrase around and say: "I'll give you a terrific break on the third one, let's see real money at the real rate for the first one".
AJA KONA 23.98: Lovely or lunacy?
Although the question came up in the AJA Kona
community, the answers apply to anyone editing with, or thinking about editing with, footage shot at 23.98 fps in their broadcast projects. Along the way to both answering the question and praising the original poster for his heroic production efforts, the question evolved to ask: with all the problems getting from 23.98 footage to 29.97, is it worth even shooting 23.98 at all. No matter where you land in the debate, you'll find invaluable tips for adding 23.98 to your video editing workflow.
ADOBE AFTER EFFECTS 23.98, pt. 2: Pulldown problems in After Effects
It's one thing to be stuck editing the client's footage. It's another to create an animation with the proper frame rate, field order and pull-down cadence.
No controversy this time, though, especially from the broadcast designers in the After Effects
community: 23.98 is a nightmare. As Dave LaRonde writes:
[Film pioneers] didn't adopt 24fps because of "filmic impact"... they didn't adopt it because "the slightly surreal motion lends itself to more effective visual storytelling"... they didn't even CONSIDER all that modern-day, phoney-baloney, film-school crap. They adopted if because it was the cheapest stinkin' frame rate they could get away with! Less film goes through the camera... more money goes into your pocket. It was all about ECONOMICS. Or cheaping out, take your pick.
Once again, agree or disagree, you'll find workflow tips galore.
HDV: Projection and monitoring in SD
Two especially lively threads in the HDV Format community revolve around common problems with no easy solution.
In the first, "HELP! HDV Projection... to SD?
or stay 1080?," the suggestions primarily focus on matching solutions to what's actually possible using the onsite projector. Along with that, the conversation includes potentially ideal scenarios for using both cameras and computers for projection..
In the second, "HDV monitoring on an
SD monitor," posters examine a variety of solutions for monitoring HDV while editing, from the camera itself to the Matrox MXO.
Have a favorite thread of your own? Let us know, and we'll be sure to include it next time!
