Please return as often as possible if only to see the films, mainly members productions and also topical events
COMPATABILITY OF SD CARDS AND HIGH DEFINITION FORMATS WITH THE CASABLANCA
Two issues which may affect Casablanca users have recently come to light.
The TV systems are based on the mains power supply. In the US (and Japan ) they use 120Volts AC at 60Hz. (Alternating Current which oscillates at 60 cycles per second). In the UK and most everywhere else in the world we use 200-240 volts AC at 50Hz. The picture is made by a beam of light scanning across the screen from top to bottom. When it reaches the bottom it begins again from the top scanning a new line in between the first ones. This is called Interlacing. The speed of scanning is based on the oscillating speed of the mains supply, US 60 and Europe 50. Because each picture is scanned twice it takes 25th second in Europe and 30th second in the US to complete a picture.
The alternative scanning system is called Progressive. This scans every line one after the other instead of every other line and theoretically should produce a clearer flicker free picture. However, due to cost and bandwidth limitations, broadcast material remains Interlaced.
Although the NTSC/PAL systems are no longer a problem with AVCHD/HD material as they are only concerned with colour, the frame rate is still important and it is not possible to mix them in the same project. US Casablanca editors use a different operating system to the rest of the world for this reason.
Now here is the problem. Some of the cheaper cameras on sale in the UK now actually operate on the US system 30/60 frames only. The more expensive cameras usually have a choice of 25/50 and 30/60. Please be aware of this when purchasing a new camcorder and check before purchase that you will have the 25/50 option available.
All is not lost entirely if you do happen to own a 30/60 camera. We can provide you with the US version of Bogart to install on your machine. However, you would need to go back to the European version should you have any 25/50 to edit.
Another issue you may find when using a 30/60 camera is interference if recording under fluorescent lighting which flicker at 50Hz.
Kind Regards
Martyn Dalby
Dalco uk
Two issues which may affect Casablanca users have recently come to light.
- Panasonic
recently released a new 64Gb SD card SDXC. To squeeze this amount into
such a small space they had to invent a new format. Unfortunately most
equipment already in the field is incompatible with this format. We recommend
not buying these cards for the time being.
- I’m sure most Casablanca users will be aware that there are two main TV/Video formats worldwide. The US developed the NTSC system and in Europe we have PAL/Secam. To understand the issues here we need to know a little about the technology.
The TV systems are based on the mains power supply. In the US (and Japan ) they use 120Volts AC at 60Hz. (Alternating Current which oscillates at 60 cycles per second). In the UK and most everywhere else in the world we use 200-240 volts AC at 50Hz. The picture is made by a beam of light scanning across the screen from top to bottom. When it reaches the bottom it begins again from the top scanning a new line in between the first ones. This is called Interlacing. The speed of scanning is based on the oscillating speed of the mains supply, US 60 and Europe 50. Because each picture is scanned twice it takes 25th second in Europe and 30th second in the US to complete a picture.
The alternative scanning system is called Progressive. This scans every line one after the other instead of every other line and theoretically should produce a clearer flicker free picture. However, due to cost and bandwidth limitations, broadcast material remains Interlaced.
Although the NTSC/PAL systems are no longer a problem with AVCHD/HD material as they are only concerned with colour, the frame rate is still important and it is not possible to mix them in the same project. US Casablanca editors use a different operating system to the rest of the world for this reason.
Now here is the problem. Some of the cheaper cameras on sale in the UK now actually operate on the US system 30/60 frames only. The more expensive cameras usually have a choice of 25/50 and 30/60. Please be aware of this when purchasing a new camcorder and check before purchase that you will have the 25/50 option available.
All is not lost entirely if you do happen to own a 30/60 camera. We can provide you with the US version of Bogart to install on your machine. However, you would need to go back to the European version should you have any 25/50 to edit.
Another issue you may find when using a 30/60 camera is interference if recording under fluorescent lighting which flicker at 50Hz.
Kind Regards
Martyn Dalby
Dalco uk
YouTube Copyright Clearance
Put together by Dave Watterson
The music industry is coming to terms with how people want to use music on the internet. Arrangements for licensing have changed, organisations have merged or allowed others to act as their agents. YouTube (UK) has made agreements with UK trade bodies which ease the restrictions in return for a quarterly payment and the industry focus is on commercial and indie usage. The IAC Copyright Scheme remains in place but does not specifically relate to web use.
YouTube and Us
99 per cent of YouTube processing is totally automatic - it has to be. About 35 hours of video is uploaded to YouTube every single minute! Their 'Content ID' computer programs gradually check all uploads for music and video copyright violations. When they find a match they generate a message to the copyright holders and a warning to the video- maker. In Britain there seems to be four levels of YouTube response:
- No action may be taken.
- They add a pop-up advertisement to your video - a nuisance, but viewers can close it. That's not a bad compromise considering the free video hosting they provide.
- Sometimes they remove the soundtrack, which is much more annoying. They offer access to a bank of music which is cleared for use, but if your work contains dialogue and sound effects, that is of little use. If the video project is still in your editor, you could possibly remake the soundtrack using their music.
- Very occasionally they remove a video altogether.
So far as I can tell, notice of the possible copyright infringement is passed to the music company concerned and they choose whether to do nothing or insist on a change etc. That decision may be computer-generated or made by a human being.
Dealing with the Problem
No software is perfect and YouTube's Content ID programs can make mistakes, but usually they are right. If your music came from a royalty free CD or download from a supplier who allows internet use, the supplier is notified and will do nothing. If the music came from a normal commercial CD or download, the company concerned is notified and may, or may not, take action.
If the track came from a 'music library' of the sort usually only offered to film and TV producers, or to IAC members through the Music Advisory Scheme, the way the supplier responds depends on whether or not they identify you as a customer who has bought internet rights. Music supplied through the IAC Advisory Scheme is not automatically cleared for internet use.
I suggest that if your videos remain on view, do nothing. If they are muted or removed, tell YouTube that you have rights either through direct purchase from the music supplier concerned or through the IAC Licence Scheme. -YouTube will pass that claim on to the music company concerned. Most of them will respect that view and allow the video to remain. Some will not.
Wider Issues
The notes above refer only to YouTube in the UK, because in other countries music rights are owned by other companies. I know of no other video hosts with music industry agreements, but they all run checks and may remove videos which infringe copyright.
As responsible citizens, we want to obey the law, but it is not clear how to do so. That is unsatisfactory but it arises because copyright is a complex area with many fingers in the pie. Ultimately, those who own the rights can lay down whatever rules they want.
The safest ways to avoid trouble are:
- use royalty-free recordings which include internet rights
- compose your own music, perhaps with a suitable computer program
- negotiate fees with the bodies concerned. (That's expensive and is tricky because different companies own the rights in different parts of the world).
This article was prompted by a query from Geof Caudwell, who noted: "I have successfully removed blocks on my videos by mentioning the IAC licences, but does that really mean that I have complete clearance; or is it just someone (perhaps with little knowledge of copyright law) ticking a box, on seeing that I have some sort of official bit of paper?"
My personal view is that someone is demonstrating the general goodwill of the music industry towards us. There is no formal agreement between IAC and YouTube or any other video-hosting company. The YouTube (UK) deal serves all YouTube users in Britain ... including us.
And for the future?
The British music companies have established a new type of licensing for people like wedding videographers who want to sell small numbers of DVDs which include copyright music. Search for 'Limited Manufacture Licence' on www.prsformusic.com Maybe they will get round to a new type of licence for our sort of use.
Let me stress: I am not a lawyer or copyright expert - nor a spokesman for the IAC, this article is based on practical experience and some online research. Bear in mind that images may be copyright too and that copyright applies whether or not we intend to make money from our work.
Put together by Dave Watterson
The music industry is coming to terms with how people want to use music on the internet. Arrangements for licensing have changed, organisations have merged or allowed others to act as their agents. YouTube (UK) has made agreements with UK trade bodies which ease the restrictions in return for a quarterly payment and the industry focus is on commercial and indie usage. The IAC Copyright Scheme remains in place but does not specifically relate to web use.
YouTube and Us
99 per cent of YouTube processing is totally automatic - it has to be. About 35 hours of video is uploaded to YouTube every single minute! Their 'Content ID' computer programs gradually check all uploads for music and video copyright violations. When they find a match they generate a message to the copyright holders and a warning to the video- maker. In Britain there seems to be four levels of YouTube response:
- No action may be taken.
- They add a pop-up advertisement to your video - a nuisance, but viewers can close it. That's not a bad compromise considering the free video hosting they provide.
- Sometimes they remove the soundtrack, which is much more annoying. They offer access to a bank of music which is cleared for use, but if your work contains dialogue and sound effects, that is of little use. If the video project is still in your editor, you could possibly remake the soundtrack using their music.
- Very occasionally they remove a video altogether.
So far as I can tell, notice of the possible copyright infringement is passed to the music company concerned and they choose whether to do nothing or insist on a change etc. That decision may be computer-generated or made by a human being.
Dealing with the Problem
No software is perfect and YouTube's Content ID programs can make mistakes, but usually they are right. If your music came from a royalty free CD or download from a supplier who allows internet use, the supplier is notified and will do nothing. If the music came from a normal commercial CD or download, the company concerned is notified and may, or may not, take action.
If the track came from a 'music library' of the sort usually only offered to film and TV producers, or to IAC members through the Music Advisory Scheme, the way the supplier responds depends on whether or not they identify you as a customer who has bought internet rights. Music supplied through the IAC Advisory Scheme is not automatically cleared for internet use.
I suggest that if your videos remain on view, do nothing. If they are muted or removed, tell YouTube that you have rights either through direct purchase from the music supplier concerned or through the IAC Licence Scheme. -YouTube will pass that claim on to the music company concerned. Most of them will respect that view and allow the video to remain. Some will not.
Wider Issues
The notes above refer only to YouTube in the UK, because in other countries music rights are owned by other companies. I know of no other video hosts with music industry agreements, but they all run checks and may remove videos which infringe copyright.
As responsible citizens, we want to obey the law, but it is not clear how to do so. That is unsatisfactory but it arises because copyright is a complex area with many fingers in the pie. Ultimately, those who own the rights can lay down whatever rules they want.
The safest ways to avoid trouble are:
- use royalty-free recordings which include internet rights
- compose your own music, perhaps with a suitable computer program
- negotiate fees with the bodies concerned. (That's expensive and is tricky because different companies own the rights in different parts of the world).
This article was prompted by a query from Geof Caudwell, who noted: "I have successfully removed blocks on my videos by mentioning the IAC licences, but does that really mean that I have complete clearance; or is it just someone (perhaps with little knowledge of copyright law) ticking a box, on seeing that I have some sort of official bit of paper?"
My personal view is that someone is demonstrating the general goodwill of the music industry towards us. There is no formal agreement between IAC and YouTube or any other video-hosting company. The YouTube (UK) deal serves all YouTube users in Britain ... including us.
And for the future?
The British music companies have established a new type of licensing for people like wedding videographers who want to sell small numbers of DVDs which include copyright music. Search for 'Limited Manufacture Licence' on www.prsformusic.com Maybe they will get round to a new type of licence for our sort of use.
Let me stress: I am not a lawyer or copyright expert - nor a spokesman for the IAC, this article is based on practical experience and some online research. Bear in mind that images may be copyright too and that copyright applies whether or not we intend to make money from our work.
Brisbane Club Newsletter
Hi Members, Roland Westlake of the Tiverton Club thought members might like to see the newsletter of the Brisbane club they are in touch with.
David Clifford Hon.Sec.
Hi Members, Roland Westlake of the Tiverton Club thought members might like to see the newsletter of the Brisbane club they are in touch with.
David Clifford Hon.Sec.
To download this newsletter - CLICK HERE
36th Teign Cup 2011
The Teign Cup was held on Saturday the 5th.November at Teignmouth organised by the Teign Film Makers Club.
The competition is restricted to clubs and individuals within the SoCo region .The competition was sponsored by Sony Centre Exeter .Films of all genres are judged together subject only to a time limit of 20 minutes. This year equalled last years entry with 19 films. The running time was just over 2 and a half hours. Attendance 40 .
The Judges were Andrew Brooking an Independent Film Producer , a past member of the club and Pip Critten Soco Secretary and magazine Editor.
The Clubs new sound equipment was used for the first time.
Results.
1st. "A Gentle Woman" by Phil Martin, Reading Film & Video Makers.
2nd. "Susie the Spider" by Huey Walker, Tiverton Camcorder Club.
3rd. "Sunset Ceremony" Devizes Video Club
Reading Film & Video Makers received The Teign Cup, a miniature trophy and the £50.00 Sony prize.
The 2nd place film received a miniature trophy presented to Huey Walker. The 3rd place received a miniature plaque. All placed films will also receive a certificate. Judges comments were sent to all entries.
Our thanks to all those who supported us by entering their films and to those who attended.
David Clifford
Organiser.
CLICK HERE FOR A LIST OF FILMS ENTERED
The Teign Cup was held on Saturday the 5th.November at Teignmouth organised by the Teign Film Makers Club.
The competition is restricted to clubs and individuals within the SoCo region .The competition was sponsored by Sony Centre Exeter .Films of all genres are judged together subject only to a time limit of 20 minutes. This year equalled last years entry with 19 films. The running time was just over 2 and a half hours. Attendance 40 .
The Judges were Andrew Brooking an Independent Film Producer , a past member of the club and Pip Critten Soco Secretary and magazine Editor.
The Clubs new sound equipment was used for the first time.
Results.
1st. "A Gentle Woman" by Phil Martin, Reading Film & Video Makers.
2nd. "Susie the Spider" by Huey Walker, Tiverton Camcorder Club.
3rd. "Sunset Ceremony" Devizes Video Club
Reading Film & Video Makers received The Teign Cup, a miniature trophy and the £50.00 Sony prize.
The 2nd place film received a miniature trophy presented to Huey Walker. The 3rd place received a miniature plaque. All placed films will also receive a certificate. Judges comments were sent to all entries.
Our thanks to all those who supported us by entering their films and to those who attended.
David Clifford
Organiser.
CLICK HERE FOR A LIST OF FILMS ENTERED
|
A GENTLE WOMAN
A Gentle Woman for VIMEO from Phil Martin on Vimeo. |
To view on YouTube - CLICK HERE
|
Your rights to film or Photograph in a public place. Click the image below for a statement by the ACPO.
CLICK HERE - to enlarge image
Right on Cue
Clubs up and down the land are switching to HD projectors and Blu-Ray DVD players, and Teign Film Makers are up there among them, with new gear for presenting their popular shows and region-wide competitions. But, unusually perhaps, this enterprising club has gone one further. In an e-mail (yes - if you don't have a newsletter, e-mails are good tool), Don Adams reports that the club has also invested in a ProPrompter Autocue.
"A steal on eBay" - to "improve head-to-camera documentaries". Further details weren't provided but a quick check on the internet showed that a ProPrompter Wing 7 kit fits snugly to any camcorder and looks pretty straightforward to use. Well worth looking into (no pun intended) for those documentaries you have planned - and also for forgetful actors!
Clubs up and down the land are switching to HD projectors and Blu-Ray DVD players, and Teign Film Makers are up there among them, with new gear for presenting their popular shows and region-wide competitions. But, unusually perhaps, this enterprising club has gone one further. In an e-mail (yes - if you don't have a newsletter, e-mails are good tool), Don Adams reports that the club has also invested in a ProPrompter Autocue.
"A steal on eBay" - to "improve head-to-camera documentaries". Further details weren't provided but a quick check on the internet showed that a ProPrompter Wing 7 kit fits snugly to any camcorder and looks pretty straightforward to use. Well worth looking into (no pun intended) for those documentaries you have planned - and also for forgetful actors!
|
|
CLICK FOR - TOP OF PAGE
