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www.litepanels.com/astra
A NEW STAR
IS BORN
YOUR VI SI ON, I N A BETTER LI GHT
MEET THE ASTRA
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W
e scoured the NAB 2014
show oor with the
broadcast eld as packed as ever, and
had to look past hundreds of products to
bring you these select few to be called the
tradeshows best. We found some companies
trying new types of products, expanding on a
solid following. This of course brings up some
big names like AJA and Blackmagic, but in
areas that are fairly new to them. New products
are seemingly always coming out in camera
support, and each built smarter and stronger.
Again, we saw a couple established names
crossover into territory that is new, and gimbals
are beginning to feel like the new action camera
its great that they go together. Everyone is
making them and applying them for smooth
oating image stabilization. Heres our Best
Products of NAB 2014.
Best of Show Award: Blackmagic URSA
The Blackmagic URSA modular design really
represents three cameras and then some, so
some might call it cheating, but well just say
that versatility will make this camera very ap-
pealing to a wide audience. Blackmagic De-
signs URSA features a removable component
that contains the lens mount and sensor, so
the base unit can be equipped to use EF, PL or
B4 mounts. The EF and PL versions have a 4K
Super 35 image sensor, while the B4 will have a
sensor aimed at the broadcast market. Theres
even a body-only version with a 4K HDMI input
so that any capable camera can take advantage
of the multitude of LCD screens on the main
unit. The EF version hits a sweet price point
at about $6,000 while the PL version goes for
about $6,500. The B4 and HDMI version prices
are pending, as well shipping dates so peek at
the Blackmagic forum for the latest, previous-
ly the cinematography board has covered
new cameras. The Blackmagic URSA
is one of the earliest cameras with
12G-SDI, and combats rolling
shutter with a global shut-
ter. The built-in, 10-inch
screen is a rst and
the camera is
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designed with two ve-inch touch screens,
creating director of photography and
camera assistants stations. It has some of
the biggest audio meters weve ever seen
on a camera. We didnt even mention that
DaVinci Resolve 11 is set to be included
with the camera, so were just getting more
and more excited to start trying this one
out. For shaking up the industry again, the
Blackmagic Design URSA deserves our Best
of Show Award for NAB 2014.
Best Mirrorless Camera: Panasonic
LUMIX GH4
Upon a second look at the Panasonic DMC-
GH4, were very impressed by the little
camera that can do great things. With video
at both UHD and Digital Cinema Initiatives
4K, a Micro Four Thirds mount and ease of
use, this LUMIX camera gets great images.
4K bitrates of 100Mb/s and HD bitrates of
200Mb/s will test the UHS Speed Class U3
SDHC or SDXC card you decide to use,
while the ip out OLED will make
it easier to shoot. The GH4 is
small but strong, with a
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30
magnesium alloy body, and room to grow with
attachments, notably one that can provide XLR
inputs and audio meters. The zebra patterns are
a very welcome exposure assist, and a Synchro
Scan can help take out the icker from a moni-
tor or uorescent lights. Since cameras can be
very compact these days we decided to celebrate the GH4 for
being both small and exceptional.
Best Light of NAB 2014: Kino Flo Celeb 400 DMX
The size of the Celeb 400 DMX helps shape how it emits light.
Weve already come to appreciate the Celeb 200 DMX, so as
the LED panel is scaled up from 24 to 45-inches,
we are excited to see the continued excellence.
The Celeb 400 DMX has a color rendering index
score of 95, which is most impressive in light of
the full dimming and color temperature controls.
These are incredibly handy lights that dont get
hot, use standard power and wont bother your
subject like some lights.
To add gels or mounts, it is a clear and secure
task to slide a light modier into the front slots.
Ultimately it makes the job of lighting less of a
chore. At nearly four feet long, its going to cover
a lot of your set. The entire case will be 53lb. or
less, depending on whether you go for the the
center or yoke mount kit. The Celeb 400 DMX
brings great versatility and lighting power to sets,
and saves valuable time, so these are clear reasons well call
the Celeb 400 DMX the best light of NAB 2014.
Best Plug-in of NAB 2014 Award: Red Giant Universe
For editors, visual effects and motion graphics tend to be
either their favorite part of the produc-
tion process or the hardest. Plug-ins
have been the go-to answer for
many during post-production,
so it stands that when one
of the premier creators
of plug-ins, Red
Giant, teams up
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BEST OF NAB AWARDS
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and collaborates with the editors of the Universe
theres some award-worthy effects to be had.
The idea with the Universe is that youd get to
use the effects that creators like yourself and
legendary people like John Knoll have
created. Youll work with creators to help
shape the effects that become available
next, rather than have to wait until the next
package of limited shelf-life plug-ins becomes
available. Whether you use Mac or Windows, the
major host applications are recognized, so to get
the Universe to gel with your workow probably
wont take much. Its free at the lowest-level. For
more access subscribers can pay $10 per month,
$99 per year or a one-time lifetime price of $399.
Best Camera Accessory of NAB 2014 Award:
Sachtler Ace Accessories
The collection of Ace Accessories includes the Ace Base
Plate, Ace Follow Focus and Ace Matte Box. Each is an indi-
vidual product, but when they combine, your gear becomes
elite. It uses standard 15mm rods for accurate focus and
matte boxes for the ultimate in camera control. A total of
three ags act like barn doors while two slots allow you
to easily mix in a lter (or rotate one). The reliability and
value that many have come to expect from the Sachtler Ace
line supports is now in the Ace Accessories range. The strong
but light tripods from this German company are easily seen
in many productions. In our experience, anything that moves
the shoot along faster goes up in value. Were pretty sure that
the frequency with which youll turn to your Ace-ed rig will
offset costs pretty well.
Best Action Camera Support of NAB 2014
Award: Dactylcam Go Rig
Prehistoric? Hardly. The Go Rig is for the young at
heart: hobbyists, athletes, and enthusiasts. To fully
explain what this rig does itll take some physical
description. Its an aluminum sled cable-cam rig
for action cameras that requires some 1/8-inch or
1/4-inch line, the Amsteel Blue non-stretch kind
is preferred. It can carry 3lb. and is driven by a
remote control. The easy question is which of the
many small POV cameras youll use with the sys-
tem. The harder question is: What will you attach
the cables for the sled to? Accessories can be attached
to the Go Rig sled as well as a more powerful battery.
The transmitter controls forward and back motion with
a 4-Channel 2.4GHz Dual Band Remote Control. The kit
should make jumping into cable-run cameras simple. At
$990 the Go Rig certainly stands as an investment, but
the fun on productions is denitely going to ramp up. Just
remember to set up a way to monitor your camera before
sending the sled along.
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VI DEOMAKER >>> J ULY 201 4
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Best Stabilizer of NAB 2014 Award: Freefly
MoVI M5
A 3-axis gimbal counteracts the movements of a
camera operator, and steers footage towards the
ultimate, cinematic smooth move look. Freeys
MoVI M5 takes on the growing competition and
helps make high production value easy. By the
very nature of being lightweight and hand operated, the
MoVI M5 is more accessible than say, some sled and vest sys-
tems or dollies. The custom design centers on a proprietary
inertial measurement unit and brushless direct drive system.
The fully protected wiring and tool-less balancing are design
attributes that quickly elevate this rig from others. With a
payload of 5lb. and control features like pan/tilt, a graphic
user interface (via Bluetooth connection), silent operation
and a way to control the amount of allowed camera shake,
this is a full featured camera stabilizer. The MoVI M5 itself is $4,995
with various accessories available, and can ship 4-6 weeks after
orders are placed.
Best Storage of NAB 2014 Award: G-Technology G-SPEED
Studio
We can generally agree that more storage is better, and more RAID
storage, is even better than that. The G-SPEED Studio is a storage
device with room for four hard drives and is congurable to RAID
0, 1, 5, 6, or 10. You can bring the total storage up to 24TB, and at
a lesser amount, the sustained 660MB/s transfer rate will get your
les going quick. The connection is Thunderbolt 2 which can
daisy chain to other devices and Mac computers. This echoes one
of the beautiful things about Thunderbolt in that cabling in
and out of devices is very simple. The four removable en-
terprise class disks are 7200RPM SATA III. We cant help but
appreciate the efforts G-Technology goes through to match
their design of storage devices to the current Mac Pro. The
G-SPEED studio is developed with creative producers in
mind, and who knows, you might ll it before the 3-year
warranty expires.
Best Motion Control System of NAB 2014 Award:
edelkrone Action/Target Modules
The edelkrone SliderPLUS is great at putting our cameras into
motion, but the Action and Target modules would be bet-
ter. They are modules that attaches to the sides of a Slider-
PLUS for motion controlled pan/slide moves. Your control
of the camera is simple with a four-direction button for moving
the camera, and adjusting the average speed. These are the three
things it needs to complete a move, where you start, stop and an
average speed. And rather than punching in numbers, the system
can record your move, and you dont need to get the speed exactly
right because the wizard mode knows how to calculate averages. A
double tap allows an innite loop between points, and for this. The
Action module clocks in at $600 and the Target module at $800,
and both have Canon LP-E6, Panasonic CGA-D54 or Sony NP-FV
battery options.
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BEST OF NAB AWARDS
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VI DEOMAKER >>> J ULY 201 4
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Jackson Wong is an associate editor for Videomaker.
For comments, email: editor@videomaker.com, use article #17173 in
the subject line. You can comment and rate this article by going online:
www.videomaker.com/article/17173
BEST OF NAB AWARDS
Best External Recorder of NAB 2014
Award: Atomos Shogun
Use the Shogun for a powerful way to
record video. The 7-inch, 1920x1200 reso-
lution monitor makes it especially strong
when it comes to monitor/recorders. Atomos lets
you record to Apple ProRes 4K, Cinema DNG
Raw or Avid DNxHD over HDMI and 12G-SDI.
The Shogun has great color calibration with
plenty of monitoring (including audio) and assist
functions that camera displays usually aspire to
have. The SuperAtom IPS 325ppi screen elimi-
nates buttons with its touch screen, and the
dual disk recording medium allows for extended
record lengthes like two hours with a 2TB RAID
for 4K video. The openness of the Shogun is
welcome when youre looking for XLR audio
or remote control. The Shogun is calibrated to
SMPTE Rec.709 for standard colors. Thankfully
the Shogun is well suited to playing with many
cameras on a production thanks to Genlock,
timecode and monitor pass through. The report
for the Shogun is to be ready for duty this fall
and cost $1,995.
Best Computer Monitor of NAB 2014
Award: HP Dreamcolor Z24x Display
Colors: 1.07 billion. Not bad not bad prob-
ably more than you or we could name. Actu-
ally, the Z24x is the smaller of two displays, but
is signicantly less costly at $600. As a color
critical display, Ethernet-based remote control
through an integrated Web server is in a league
of its own. It has 1920x1200 resolution and
10-bit color accuracy with a easy-to change
color space and color calibration. The quick
access to presets includes specic color spaces,
including some that sound like named stars
beyond the Milky Way: sRGB D65, sRGB D50,
Adobe RGB, BT.709, BT.2020 and DCI-P3. Plus,
users have the ability to create custom color
spaces and control the primaries, white point
and tone response. While supported for Linux,
Mac and Windows, the Z24x must be calibrated
on a Windows system. This is some of the best
news yet in terms of color critical monitors
coming down in price.
Most Innovative Product of NAB 2014
Award: FloLight CycLight
Lighting seems too easy if we use a single
light for a subject, especially when lighting
green screen. The CycLight seeks to make the
whole process easy with a single light xture
that reduces the light at the bottom, and
gradually increases it to counteract the
inverse square law that light must obey. So
where a spot is twice the distance from a
light source, that spot will have one quarter
the intensity of light. This law governs au-
dio as well, but the CycLight seeks to beat
that law. The specication for beam spread
provided by FloLight reads: No. What the
CycLight allows you to do is dim three
40W green LEDs and light a green screen
from the oor, less than four feet from
the screen. The idea for the CycLight and
Light Wave technology is much anticipat-
ed, and is sure to make green screen more
feasible for many.
Winners Immortalized
The news from NAB 2014 may not last very
long but the products will and these here
will be among the markings of another
excellent year in video production innova-
tions. The way we tell stories continues to
change and the tools are getting more and
more sophisticated. Whether we begin to
assign three people to operate a camera,
send our camera into oating handheld
shots, use effects developed by a visual ef-
fects wizards, or light a green screen with
one light, the products awarded here, stand
to become big reasons for your video pro-
ductions success.
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VI DEOMAKER >>> J ULY 201 4
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STORAGE
SOLUTIONS
Not having backups of your digital assets is asking
for trouble and will cost you time and money, should
any assets be lost due to a hard drive failure.
BY MARSHAL M. ROSENTHAL
T
he moral of this story is that since Murphys law knows
no boundaries and makes no distinctions, a business
that creates digital assets and must access them from a
storage device, cant take for granted that the hard drive
containing the assets will continue to be safe.
Your drives hold a lot: digital video, audio les, completed
projects, raw footage and other assets, but a digital le can
become corrupted or damaged or lost on a broken or defec-
tive hard drive. An unforeseen event can occur that causes
physical damage, such as the drive getting wet or suffering
from internal heat build-up or a power surge shorting it out.
Or, it may just get a hard knock that sends a high speed spin-
ning disc, with all your data, into a tailspin. Losing access
to an asset is a fancy way of saying that its gone. No longer
having it in storage translates into lost time and money in
order to recover it, if that becomes possible. Should a job be
looming, a lot worse than time could be lost, as in making
a deadline or having to tell a client the kind of bad news
that guarantees she or he will be a client no more. And that
doesnt take into account whether payment for the work will
have to be returned in part or in whole.
All of this could have been avoided by having copies
of your digital assets. At the most basic level, making a
duplicate of a digital asset provides a second version and
PROTECT DIGITAL ASSETS
AND YOUR BUSINESS
Theres an urban tale that in Ohio in 1895, the states only two
horseless carriages (i.e., cars) managed to collide with one another.
326 F6 Protect yourAssets.indd 34 5/20/2014 9:59:55 AM
VI DEOMAKER >>> J ULY 201 4
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VI DEOMAKER >>> J ULY 201 4
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physically separated from where the original
is located. The simplest method is to connect
a hard drive to the computer and copy all of
the digital assets to the drive, either through
drag and copy or by using a hard drive copy
program. These programs can be congured
to copy selected les or do whole-disk drive
copying, and remove the need for having to
covered data. The service is affordable, with the
cost being in the tens of dollars, not hundreds,
and is basically hard drive insurance, with data
recovery added.
The External Storage Solution
The second method for copying/saving digital
assets requires using a storage media that is
Software options
are available
for Mac and PC
which attempt to
recover lost data.
STORAGE SOLUTIONS
PROTECT DIGITAL ASSETS AND YOUR BUSINESS
Your data is the most critical
part of your professional life.
Our mission is to support
your workows with quality
products backed by an
industry-leading warranty.
For over 20 years Glyph storage solutions have been
designed for content creation workows needing speed and
capacity. The all-new Studio family is equipped with rugged
all-metal enclosures, pro-grade internal power supplies, disk
health monitoring, and intelligent cooling systems.
Every Studio series hard drive is backed by Glyphs
outrageous, industry-leading warranty and a team of tech
support professionals who know and understand your
production environments.
The original drive for professional content creators.
3 YEAR HARDWARE WARRANTY 2 YEAR LEVEL I DATA RECOVERY 1 YEAR OVERNIGHT ADVANCE REPLACEMENT
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VI DEOMAKER >>> J ULY 201 4
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Digitals desktop hard drives are recommended
for RAID use, while its WD Red is, due to its higher
level of performance and reliability, intended for
write-intensive applications. Many pairs of hard
drives can be congured for this purpose, depend-
ing on the enclosure boxes available for contain-
ing the drives.
Software Solutions
The fact that all of the hard drives are together
in one enclosure means that any kind of attack
that can happen to one drive (i.e., virus, getting
soaked in water, etc.), has the potential to happen
to all of them at once. If that were to occur and a
drive becomes inoperative, there are a number of
limited scenarios to save your data.
Should the damage be computer-related, soft-
ware repair tools can be tried. There are a number
of these available that dont require program-
ming skills, these two are priced around $100 or
less; Mac computers have the Alsoft DiskWarrior
program (OS X 10.3.9-10.9), which repairs a drives
structure so that les on it can be accessed again.
Avanquest Fix-It Utilities Professional 15 for PC us-
ers (Windows 7, 8, XP, Vista) contains optimization
features as well as repair procedures for crashes,
freezes and system errors.
But should a drive fail as a result of physical
damage, there is the option of a hard drive data
recovery service to acquire the data off the drive.
This is a real option should there be no other
copies of the content on the drive. The downside
is that such services can charge exorbitant fees,
depending on urgency and the complexity of the
damaged hard drive.
Seagate has its Rescue and Replace service
available for up to three years for Seagate drives.
Should the drive be damaged, send to Seagate, to
be replaced with a new drive that holds the re-
can be done in a matter of minutes. But if you
have mountains of data to copy, its easy to keep
putting it off, until Murphys law shows you
the error of your ways. Instead, lets delve into
whats needed, and more importantly, how to
work out a method for efciently and depend-
ably copying your digital assets so as to have a
backup if the worst case scenario occurs.
The RAID Solution
There are two methods for going about this, with
the rst being to create the second copy when
the original is being saved to either an internal
or external hard drive. This method requires
creating a RAID. Multiple hard drives, often with
the same capacity, are employed (two being the
minimum conguration for backup in what is
called RAID 1). Lets take a LaCie 2Big Thunder-
bolt RAID as an example, which contains two
2TB hard drives. One of the 2TB hard drives is
mirrored, or duplicated, with the second 2TB in
the enclosure. This means that, instead of having
4TB of free space to use, there are only two, and
the speed of the drive being accessed is not as
fast as if they were striped (thats RAID 0 which
doesnt provide a backup), since it is actually two
drives that are being accessed for every data save.
In addition, the hard drives need to be geared
for this use. For example, only some of Western
RAID CONFIGURATION
RAID stands for Redundant Array of Indepen-
dent Discs and can be configured in more ways
than listed here. RAID 0 basically treats all the
hard drives as if they were a single drive, this
can improve performance, but as a result there
is no protection against drive mishaps or failure.
For that RAID 1 is needed, since the same data
is written to a pair of drives. As many mirrored
drives may be used as can be controlled by
the RAID controller. RAID 5 provides speed of
STORAGE SOLUTIONS
PROTECT DIGITAL ASSETS AND YOUR BUSINESS
There are a number of software repair tools
available that dont require programming skills ...
writing/data redundancy by using around one
third of the free disk space to send parity data
to the drives (a small amount of data mathemati-
cally representing the original larger amount). It
requires at least three hard drives to function, and
performance can improve since the data is being
read from multiple disks. The final option, JBOD
(Just a Bunch of Disks) is more of an adjunct to
RAID; sending data to the first drive until it is
filled to capacity, then the next and so on.
326 F6 Protect yourAssets.indd 36 5/21/2014 10:45:43 AM
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VI DEOMAKER >>> J ULY 201 4
38
Marshal M. Rosenthal is a technology and consumer electronics
freelance writer.
For comments, email: editor@videomaker.com, use article #17143 in the
subject line. You can comment and rate this article by going online:
www.videomaker.com/article/17143
monitor le by le copying. Examples of
such programs are Carbon Copy Cloner for
Macs and FolderClone le mirroring utility
for PCs. The external hard drive can then be
removed from the computer and placed else-
where until needed again. Because the drive
is going to be moved about, having one that
is rugged is important. An external hard drive
that does both is G-Technologys G-RAID with
Thunderbolt, which features a solid, alumi-
num design, a thermo-regulated smart fan
and is available in storage capacities of 4TB
and 8TB.
Optical Storage
Optical drives have the advantage of using
discs which make for easy storage and retain
what has been written on them for many years.
These discs can be stored without special con-
siderations, except for extreme weather condi-
tions or being placed under a heavy weight that
will result in their being cracked. Blu-ray discs
have a higher capacity. Blu-ray read/write drives
come in many computer congurations, with
both internal and external models available at
affordable prices for both PCs and Macs.
Cloud Storage
Another option is storing content online. There
are services that will do this for a fee, but re-
gardless of cost, the basic process is that digital
les are uploaded to a secure server where they
are stored as if on a hard drive underneath the
computer desk. The advantage is that the con-
tent is now safe from any event that could occur
at your location, such as a hard drive failure, a
re or other disaster large or small. The disad-
vantages include the possibility of disaster strik-
ing at the servers location, Internet pirates and
trolls invading your privacy and the fact that
the time for uploading may be very long and
discourage regular backups. The result is that
storing to the cloud should be viewed as one of
many content-saving methods, and no one solu-
tion is a catch-all.
You Cant Be Too Safe
There are technologies available that will du-
plicate your digital assets, and the means for
initiating a copying schedule to keep everything
up to date. But there continues to be a fatal aw
none of this can happen unless you are willing
to put in the time and effort to make it happen.
Protect your digital assets by ensuring that copies
are made and you can laugh at Murphys law if/
when it occurs. Rely on luck instead, and it will
be Murphy who has the last laugh.
STORAGE SOLUTIONS
PROTECT DIGITAL ASSETS AND YOUR BUSINESS
Losing access to an asset is a fancy way of
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Optical backup and archiving may be far less con-
venient than hard drives or a RAID, but at as little
as one dollar per 25GB, the price is hard to beat.
326 F6 Protect yourAssets.indd 38 5/20/2014 10:00:41 AM
Matrox
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BASIC TRAINING
VI DEOMAKER >>> J ULY 201 4
40
ity on such things, or at least he is
the only one spending weeks in the
swamp with a pair of binoculars and a
trap baited with a crate of cabbages.
Who could argue? This could be
my big break to get a video produc-
tion onto national TV. In my head I
saw crystal clear video of a nine foot
tall Sasquatch nonchalantly eating
carrots from someones vegetable
garden with my name scrolling
underneath and Wolf Blitzer saying
Amazing video by camera operator
Kyle Cassidy every three minutes. I
grabbed my bag and started making
a mental note of things wed need:
Bigfoot has been spotted north of
Route Six! Tony shrieked, bursting
through the door. He was covered
in dirt and bark, waving his arms
to get my attention. As he raced
towards me he knocked over a plate
of chicken wings and upset a pair
of heavily mustached bikers who
seemed on the verge of beating him
out of his shoes until they smelled
him and shrunk back. Hed been in
the swamp for a long time, by the
look of it.
Tony raced across the room and
shoved his cell phone in my face.
On it a fuzzy brown blob was mov-
ing through a fuzzy green blob, Hes
in the forest! I looked at the video.
Grab your cameras! he shouted
impatiently when I didnt move. Then
jumping up and down, Were getting
an expedition together to do a video
production of him! Tony is the presi-
dent of the Skunk Ape, Sasquatch &
Yeti Hunters and is the local author-
When to Work for Free
Should you ever use your time and
talent without getting paid? We take
a look at some of the things people
will ask you to do for free and why
you might say yes or no.
b y Ky l e Ca s s i d y
tripods, cameras, a beefy laptop with
editing software, long lenses, a tent,
tranquilizer darts ...
We jumped in Tonys Jeep and he
tore out of the parking lot, leaving
a cloud of dust behind us. Tony was
talking a mile a minute. the sightings,
the direction the Skunk Ape was trav-
eling, the tool sheds itd destroyed, the
plaster casts, the horrible odors....
One thing, Tony said as we pulled
onto the freeway. We dont have a
video production budget. Youll have
to do this for free.
When (if Ever) to Work for Free
Throughout the course of your career
as a videographer, people will ask you
to work for free. Theyll think theyre
being clever, or even generous, of-
fering you the opportunity to shoot
their daughters steeplechase event,
or a party theyre throwing. Artists
have been pushing back against this
for years, often with organized angry
responses. (No doubt, many of you
have thoughts about this, please share
them on the Videomaker forum: www.
videomaker.com/forum.)
Inevitably though, there are times
when working for free is an OK thing
and a good idea, not every payment is
Ability, education and
experience make up
the triple threat of
finding work. Its dif-
ficult to get started
when youre missing
one.
326 C10 Basic Training.indd 40 5/20/2014 10:02:54 AM
BASIC TRAINING
VI DEOMAKER >>> J ULY 201 4
41
in dollars. Ultimately its for you to decide where
to spend your time and talent, but today well
look at some reasons you might want to consider
working for free and what it might get you. (See
Will Work for Free: Shooting Charity Video
www.videomaker.com/r/750.)
Why work for free? There are a number of le-
gitimate reasons you may want to consider fore-
going the paycheck, and there are also a whole
bunch of reasons to say no thanks. Among the
reasons you may want to consider it are:
To get real-world experience
To build a demo reel
To learn from a more experienced producer
To learn new techniques
To attempt a new type of video production
Types of Free Work You Might Do
There are lots of opportunities to work for free,
lets take a look at some of the legitimate ones.
BASIC TRAINING JULY 2014
Volunteer: Would you volunteer to record your
kids soccer game? Lots of parents would. You do
it because you like to watch your kid play soccer,
you want to be helpful. We all volunteer to do
things because we want to see them get done
and because we want to be helpful. If its a vol-
unteer opportunity that provides something for
your reel or gives you an opportunity to spend
time with people you like and have fun with,
then you can consider that compensation.
Intern: Theres a lot of misunderstanding about
what an intern is. What its not is free labor.
In Walling v. Portland Terminal Co., the U.S.
Supreme Court stated that companies can hire
people and not pay them if the job is for the
benet of the person being hired, and not the
company. The outcome outlines six require-
ments that must be met for an internship.
1. The type of work the intern is doing must be
similar to what theyd be doing in a school set-
atomos.com
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VI DEOMAKER >>> J ULY 201 4
42
BASIC TRAINING JULY 2014
however, formal apprenticeships typically pay a
salary. Though its certainly possible that you will
have an unofcial apprenticeship with someone
who will let you come along on shoots to help
out and observe.
Because a Client Doesnt have a Budget: Some-
times youre feeling charitable and want to see
something happen. Other times its a friend or
relative, and sometimes people keep bugging
you and it seems easier to do it rather than keep
hearing them ask about it. Very often, poten-
tial clients will promise you future riches and
exposure in exchange for your labor. Exposure
is a loaded gun. Yes, its possible to make money
through eyes on your talent, as William Hung
knows. (Hung was an engineering student whose
audition for American Idol was so incredibly
bad that after it was broadcast, he was signed
to a record contract and his album, Inspiration
sold nearly a quarter of a million copies.) James
Cameron famously took no paycheck and no
percentage of the gross for directing Titanic,
banking on the belief that hed make money
from it in other ways (he reportedly pulled in
$115,000,000 when all was said and done).
In fact, all advertisements are simply compa-
nies trying to make money through exposure. But
often times, the types of exposure clients think
theyre offering you wont translate into sales.
Do gigs for exposure only after youve carefully
weighed what youll be putting in with what you
really expect to get out of it. Is it an opportunity
to spend time with people you really like? Does
it support a cause you care about? If its not for
money, then it has to be for love. Dont be taken
advantage of.
A Piece of the Pie: In lmmaking, its common
for people to work on points, which is a per-
centage of future earnings. This allows produc-
ers to make movies without having to come up
with all the money up front, though its a gamble
for anyone who works on it, because it may op.
If working for points, make sure youre work-
ing for gross points rather than net points.
Hollywood often does accounting in ways that
show movies lost money even when they made
huge amounts, partially so they dont have to
pay people points. Your clients may also have
underestimated their budget and you may be
able to work with them to gure out how to
do what they want, for less than they thought.
(Check out this example of making do with less:
www.videomaker.com/r/751.)
ting if they were studying this eld. This means
an employer cant stick a video intern in a tiny
room and have them address envelopes all day.
2. The internship is solely for the benet of the
intern, not the employer.
3. An intern cant do the job that a regular
employee does; meaning an employer cant re
someone and replace them with an intern.
4. Interns have to be closely supervised by the
employers existing personnel.
5. An employer provides this training to the in-
tern and sees no nancial benet. An employer
cant have an intern doing work that makes
them money. In fact, an intern may often be a
net loss to the company.
6. Theres no promise of a job at the end of an
internship. So an employer cant say Work for
free for six months and Ill give you a job. Its
made clear from the very beginning that the in-
tern isnt getting any money for his or her labor.
All these requirements boil down this: Its nan-
cially bad for a company to have legal interns,
which means the only reason they would do it is
if theyre generous and care about giving people
job experience.
An internship is more about a company work-
ing for free, than an employee, though its a
common misconception that it works the other
way around. Beware of someone offering you an
internship thats just you doing free grunt work
for them.
This said, if a videographer or news station
offers you an internship, it could be a great op-
portunity to learn how things work, and to meet
people who might be looking to hire someone.
(You can read more about internships here:
www.videomaker.com/r/764.)
Apprenticeship: When a skilled individual con-
tracts with an unskilled one specically in order
to teach them the skill they know. Its a mentor/
protg relationship. Historically, apprentices
were usually minors and served a master trades-
person for a number of years. In a modied form
its still common in trades like carpentry, and
also common in elds like video editing. Today,
AN INTERNSHIP IS MORE ABOUT
A COMPANY WORKING FOR FREE,
THAN AN EMPLOYEE ...
326 C10 Basic Training.indd 42 5/20/2014 10:03:15 AM
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42nd St. Photo.indd 48 5/8/2014 11:19:58 AM page 43
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VI DEOMAKER >>> J ULY 201 4
44
Kyle Cassidy lives with his wife, Trillian, three cats and a lot of mem-
ory cards. He writes frequently about technology and has famously
worked for free on occasion.
For comments, email: editor@videomaker.com, use article #17020 in the
subject line. You can comment and rate this article by going online:
www.videomaker.com/article/17020
Personal Projects: Sometimes you work for free
because its an artistic project that you believe
in and that couldnt exist otherwise. The history
of independent lm is one of groups of friends
pooling their talent, and making movies because
they want to. Often these are projects for which
nobody expects to make money, and are time
and resource-consuming labors of love. Its usual
for people doing personal projects to offer to pay
in copy, credit and meals. Meaning they feed
you while youre working, you get your name
in the credits, and you get a copy of the nal
product. In the realm of weekend lm projects,
its common and often a good way to meet other
people interested in production and work on
your portfolio.
Am I good enough to charge people for my
video?
If you have a video camera and you know how
it works, then youre good enough to charge
for your services. You might not be the greatest
video producer, but you have something your
client doesnt: a camera and the time to put it
to work. Figuring out how much to charge is a
more difcult question. You want your clients to
be happy with the result they get for the price
they paid and you want them to recommend you
to other people so you can build your business.
Pair yourself realistically with the projects
you choose.
Occasionally youll run across an earnest new
video producer with a camcorder, high business
ethics, a monumental price list and absolutely no
product to show you. The bottom line is: you can
legitimately charge anyone for any work you do,
but occasionally it makes sense to trade your time
for a product to show someone else. If your sister
calls you and asks to video her neighbors dogs
third birthday party, you can certainly charge for
doing that, even if youve never recorded a thing
in your life. Your time is yours and if people want
it, they need to compensate you in some manner,
and if its not for love, then it must be for money.
Price accordingly and make sure youre not
promising more than you can deliver. Its perfectly
reasonable to say Id love to record your birthday
party. My time will cost you $50 and while Ive
used my camcorder and understand its functions,
Ive never recorded a birthday before. If they
wanted Steven Spielberg, they would have hired
Spielberg. Let the buyer beware when trying to get
video on the cheap.
How do I gure out what to charge people?
Sometimes people end up working for a lot less
than they should, or trying to work for a lot more
than they should because they cant gure out
what to charge. Check out your competitions
quality, and prices. Lots of videographers keep
their prices close to the vest and looking at their
websites will get you a call for an estimate and
this is because prices on video are often vari-
able. Theyre based on what the client can pay,
how difcult the job is and what the intangible
rewards are.
Given the option of spending the day in a
corporate board room making $2,000 for a
video and spending the day at an animal rescue
center recording orphaned baby penguins for
$1,800; Im going with the baby penguins. That
said, when Im pricing things online I always
skip all the Web pages that say call for an esti-
mate. Id like to see a price list, even if its just
a ballpark. (And check out Videomakers Video
Rate Calculator online. Its free and is a pretty
good base to begin with, rating your expenses
and income needs and other things you might
not even think about.)
Conclusion
Four days later, Im sitting in a tree, in the
rain with my camera aimed across a eld, wait-
ing for Bigfoot to show up. If he does, itll be
worth it. For such a sighting, Ill work for free
any time.
Videomakers rate
calculator is a free
resource to help
you determine what
to charge for your
production work.
BASIC TRAINING JULY 2014
326 C10 Basic Training.indd 44 5/20/2014 10:03:30 AM
Page 1
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