comparative money streams for composers from online sales

Here's a Uk licensing comparison of what you can expect to be paid comparing streaming, download and subscription means of access to your music.

iPhone Orchestra Concert "Magie mit ZEE - The Alice Files"

DRM v the world

Wendy Seltzer argues that "The Imperfect is the Enemy of the Good" in an anti DRM paper here: http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1496058 She's right of course from a broader societal perspective......

a podcast of poets

Get your podcasts of poetry here: http://www.abc.net.au/rn/poetica/features/pod/default.htm

Douglas Kahn

Here's an interesting fellow, Douglas Kahn. His bio includes this gem about his "career in the U.S. was sadly cut short when one of his pieces was deemed “vulgar and nihilistic” by the commissioning agent: the Volga and Nile being among the world’s major river systems."
-thanks Amanda

http://www.douglaskahn.com/index.htm

animators -check out the itimelapse app

multimedia storyboarding on the run

Hitchcock Mobile Storyboard Composer from cinemek / Hitchcock on Vimeo.

DSLR Cinema

Why not join this Vimeo group to share short film and see some great exmaples from users across the globe:

http://www.vimeo.com/groups/8432/videos/7573950

Rocket Boom updates us on AutoTune

Creative Commons Licensing for Music

A copyright expert who was presenting his own views at a recent APRA event (ie: not necessarily the views of APRA's), left the audience with no doubt about the perils of using the creative commons licensing approach for composers who might hope to make an income some day from their work. His perspective included that the creative commons was created by comfortable middle aged white guys with day jobs, not by starving musicians. Perhaps there are times when it makes sense to use creative commons in this day and age of online promotion, but meanwhile, have a good think about what the license means for your situation before you jump in.

file transfer from video editor to audio post

Having fun getting your video editor's files to behave in your Pro Tools session? Here's some advice, starting with a basic contextual model for file based workflow.

Think of 3 layers: a decision list (eg AAF or OMF), a wrapper (eg MXF or QuickTime), and then data compression. When it comes to video compression the upshot is i-frame codecs rock in ProTools and longop codecs suck....-so video editors please note that longop codecs like H264 or Mpeg4 are cool for streaming but they work like dogs in ProTools.

If your using a big budget Avid / PT / video satellite set up (a la Hollywood) then DNxHD36 is the way to go. (Usually just referred to as dnx36.) If however you live in Adelaide, then you'll most likely get a QuickTime format file from the video editor, who's probably using Final Cut Pro. Here then DVPAL remains the norm for Aussie needs...(DV25 gets a thumbs up as can older codecs like motion JPEG or even Sorenson if you know which one to chose.)

what does it sound like?

If you haven't heard what Evocative Audio can do a good place to start is with the examples here:

http://www.evocativeaudio.com/cgi-bin/r.pl?samples

My favourite for the day is this dramatic piece:

http://www.evocativeaudio.com/content/BB_samples/block%20buster%20-%20action.mp3

D SLRs with HD video

I'm still not sure how well the new AF in the Canon EOS 7D works yet...-i'm picking up some issues out there in the threads. Are you getting good auto focus results with your brand new baby? If you're going down the EOS 7D or the Nikon D 300s road for your multi-media needs, which external stereo mic(s) do you think would make a great choice for either of these cameras. Any thoughts?

Here's an example of the 7d with a Rode Shotgun. Thank Phil Bloom:

air users blog

Air Users Blog has to be the most useful website I've seen for Pro Tools users in 4 years. The user-contributed samples and patches for Structure are truly awesome, and Russ has put some very handy tips and tricks out there.

Check it out: http://airvirtualinstruments.blogspot.com/