Another Newbie askin questions

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    • #43348
      Avatargreenhorn
      Participant

      Hello all,

      I wanted to thank all the contributors to this site. I’ve learned a lot from the forums, and the advice from the salty video guys has saved me countless headaches already.

      That being said I do have a few questions that I havnt been able to find answers for, cause I’m looking for opinions. Negative Posative whatever just as long as its fact based I want your opinion on a few things. The reason I’m asking is because I’m making the switch from Hobbiest to “pro” or person who makes their living shooting video is what I would call myself. So I’m trying to foresee problems and begin planning for them now.

      first is about equipment. Ihave been shootingreal estate video’s and wedding videos for about 6 months. Music videos’s on the side until I build up a decent portfolio. Up until nowI have been shooting with my Canon XL1 andCanon GL1using a friends XL1 on top of that if I wanted anotherfixed shot for a wedding. So far I havnt heard any complaints. These have all been for Family and Friends and for basicaly nothing so I didnt expect any.Is this equipment satisfactoryif I plan on marketing myself for weddings ? I have wireless mics, lights,editing on Digital Juice I dont think I need anything else ?The real estate videos are fine on my XL1 but I feel like when it comes to weddings I’m under equiped for some reason. what do you think ? if I am what are you suggestions to overcome this minus buying a new camera ?

      The second question is about experience. I have been shooting hobby style since I was a kid. I’ve shot a lot of different things over the years but this doesnt translate to a lot of production quality work to show.I dont claim to be anything I’m not when I talk to people about there projects. That being said I am going to have to start spending a lot less time doing things for fun even if I dont have loads of experience in them. So my question is what kind of work should I avoid, at first,based on the equipment aboveand my skill level ?

      thanks

    • #181883
      Avatartheonecanoe
      Participant

      Hey Casey, Canon has always been my favorite camcorder brand, and the GL1 and XL1 are both excellent cameras that can produce quality results if you’re working in standard definition. But IMHO, high definition is the only way to go in todays market. If you do have a client who needs SD, it’s easy to downconvert from HD, but impossible to go the other way. I really think producing videos in SD will limit you if you are serious about going “pro”.

    • #181884
      Avatargreenhorn
      Participant

      Thanks Wayne, Thats what I was thinking as well. The biggest thing right now is finding a consistent source of work with SD and I just dont think weddings are the place for that. Infact beside the real estate videos I’m not sure anyone has ause for SD. I’m going to continue marketing myself for these projects and waituntil Ibuy and HD setup to market myself for weddings and quit my job. any suggestions for my first HD ? XL2’s to dated isnt it ?

    • #181885
      AvatarEarlC
      Member

      Be aware that the XL2 isn’t an HD camcorder, Casey. Also, I’ve been using SD production camcorders (a pair of XL1 units and a GL2) for a long, long time now and continue to acquire event and small business as well as special interest and even some mid-level corporate work using my Canons.

      Do I WANT to shift to HD? Absolutely. AM I losing business opportunities because I don’t offer HD, or mention it in my marketing? Probably. However, on average I stay consistently busy with youth sports events, school productions, funerals and memorials, montage production, dance school recitals, website video, storytelling and more … all using my Canon SD units. I plan to shift to HD first quarter 2011 and in spite of all the advances in various formats and cameras I still have my eyes on the Panasonic HMC 150 3-chip ccd unit … been around awhile but tried and proven by many in the industry whom I know and trust.

      One final note: With consumers especially, in personal and event production particularly, most household systems today provide uprez capabilities that make the SD footage I deliver look good on today’s widescreen HD television screens. Sure, in a side-by-side comparison, there’s no doubt the HD image is superior, but watching SD productions on this equipment isn’t the downfall so many predict or claim … with the exception of self-professed purists or technical geeks.

    • #181886
      Avatargreenhorn
      Participant

      Earl I’ve read a lot of your replies and value your advice here. Ididn’twant to trick myself into thinking I could succeed just to irresponsibly chase my passion. I’m really happy Iwasn’t doing that. Yoursuccess has convinced me once and for all that I will succeed myself. Thank you forincreasing the size of my prospect list as well.

    • #181887

      Earl, I too am a newbie and I have read several posts by you. I am finishing up my degree in Multimedia, and am finally making an attempt to leave the world of working for free behind and embark on a paying career in video production.

      Currently I am only using consumer products, I am not in a position to buy expensive cameras until I can pull in some money from getting some paying gigs.

      I am using a Canon Vixia m41 that looks great, I have wireless and shotgun mics that provide really good audio. I have Final Cut Pro 7 and newly purchased After Effects to work with for post production, but I still have questions.

      It seems that what you are doing with video, is really close to what I want to do for a business. (Youth sports events, school productions,
      funerals and memorials, montage production, dance school recitals,
      website video, etc.)

      What is your advice for actually going from hobby/enthusiast to business. What steps do I need to make it legit when handling with contracts, rights etc. I have access to forms and everything, but as far as actually creating a business I am a little naive.

      One of the things I want to pursue is family documentaries, getting people to tell their family histories on video, with photos and home movie footage. What would you charge for something like that?

      Also as far as upgrading equipment the Panasonic camera you mentioned is a little out of my league, do you have anything that is a step up from the consumer world that is more $1K and not $2,500-$3,000?

      Lastly, do you have any advertising advice on where to go to advertise that I do memorial video or even funeral recording.

      At the start of 2012, I plan on hitting Craigslist and some other online outlets to advertise my services.

      Thanks in advance for your time.

      -mark

    • #181888
      AvatarEarlC
      Member

      Thanks, Casey, for the kind words. Glad to be of help and perhaps a wisp of inspiration πŸ˜‰

      Mark, don’t be bashful, ask all the questions you can πŸ˜‰ just kidding.

      My primary interests as you noted involve people/events. There’s not QUITE the demand in this arena for all things super-tech, but as we all move ahead, hopefully, in this business we’ll want to upgrade our equipment list, and GET TOYS<span style=”white-space: pre;”> </span>! πŸ˜‰

      That being said: My video marketing and production blog mantra is, “If you market, you will make it!” and that is something I live by. Daily! I am a strong believer in direct-mail marketing to drive traffic to my website(s), primarily small selective mailings to specific interest groups I want to attract, limited mailings of 100 or less, and rotating focus so I don’t just keep hammering on one nail.

      I’m ALWAYS “ON” meaning I’m a shameless self-promoter, and hardly even go to bed without my business cards on hand, kidding again, but seriously I cannot imagine going out the door without a handful of my business cards in pocket. I focus on not only my general business as http://www.corelannvideo.com but also have a strong focus on mini-documentary work with my business and branding site (also opportunities for other videographers who seek something beyond weddings to start their businesses) at http://www.videostorytellers.com this is also where new associates are joining all the time.

      So, in addition to wearing a provocative T-shirt that acts like a billboard, I also have business cards that promote the areas of my business I want to push hard. I will occasionally have as many as four different business cards. Why?

      Well, although my standard business website is focused on ALL areas of event video production and video for individuals, with samples also of commercial fare, I’ve come to believe that my services sometimes get lost because I simply do not have ALL the magic key words, metatags, whathaveyou that a potential client might use in searching. So, I’ve started creating specialized websites for specific services: funerals, montages, performing arts, dance recitals, webpage billboards, etc.

      THIS, I know, is beyond the scope of your startup questions, but I just wanted to give you a sense of the specific and general directions you might be aware of that you can take, where you can go, to continuously and persistently promote yourself and your video business.

      I STRONGLY ADVISE AGAINST investing much in print advertising. It CAN be effective over time, but it is almost ALWAYS expensive and there are conditions that apply depending on what you’re advertising and where, how often and how high your expectations are vs reality upon which “successful” advertising is ranked or based.

      I STRONGLY ADVISE AGAINST Craig’s List. As a professional, my personal opinion (I’m sure there are many who will yell at me in defiance of this. It is, after all, my personal opinion) is that CL is the armpit of advertising, the bottom of the garage sale, do it for free or cheap, bargain basement mentality. I simply do not want to go there with my business. I’m seriously concerned about developing a “bottom feeder” reputation by being seen there and do not want to deal with tire kickers, people who can’t seem to accept, grasp or appreciate the value of my services and products, and WHILE I DO sometimes barter my services, I’m not interested in doing a wedding for someone on CL who “graciously” offers to put my company’s name on their invitations, napkins or some other handout in lieu of payment for a video, same-day edit and projection or whatever. Sorry that’s just my take … that CL isn’t an ideal place for me to promote myself as a professional video producer.

      You will find that it isn’t always absolutely necessary to have all the where as and wherefore documents when doing business with individuals. Often, simple is better, if not a handshake (and in today’s litigious climate, SOME kind of agreement is certainly in order) at most, often all that is needed is a document signed by both parties agreeing in general on services to be performed, place, date, time, hours, and either flat or estimated fees for same.

      Right or wrong, I rarely ever, except when developing a full-blown contract for commercial/corporate/business work, or doing a wedding production, do more than an “I’ll do these things for this much, for this many hours and deliver within this period of time” short agreement. I often will incorporate a clause or model release that allows me to use the production footage for any/all legitimate (my interpretation of “legitimate” counts) promotion, marketing, advertising, etc. And this is usually good enough for general event/individual production work.

      You mention family documentaries. My VideoStoryTellers! website is pretty much just that, although the major focus is on the preservation and sharing of unique stories, like those heard at family reunions, social events, parties, etc. it also offers more development into a more involved family history or whatever. Might be worth taking a look.

      There certainly ARE insurances, business licenses and other elements of establishing a business, but I’d probably take up ALL the bandwidth here to cover all that. Suffice it to say that while I believe in certain C.Y.A. legalities I’ve found over the years that not EVERYTHING people believe necessary to conduct business legally is necessary, mandatory or even smart. Be legit, but don’t get caught up in thinking ALL the business legal requirements of say, a multi-million dollar corporation are what you HAVE to acquire to be a “legal” sole proprietor operation.

      Ah, CAMERAS! Yes. Well, among my professional friends, and many of my fellow associates at VST (see above) many are very happy with some of Canon’s lower-priced offerings. Some still seek and acquire the tape-based HV20, 30, 40 (discontinued but still occasionally available … the 40) but I personally wouldn’t go tape-based with a new purchase in this day and age of SDHC or other non-moveable recording media. Don’t get me wrong, I LOVE tape, well really for us all tape requires a love/hate relationship, but I can live without the expense of upkeep for maintenance, repair and replacement of tape systems, and the noise that the on-camera, or even a close proximity, mic can /will pick up from them. Silence is golden.

      So, a good quality camcorder might be the Canon Vixia HF20 and related family. Videomaker ranked the HF S11 as its 2009 Best Memory Card Camcorder (don’t know about current availability) and I fully trust and rely on VM’s ratings and rankings about such things. There are a number of Canons in each of these two model number families worth taking a look at. Do spend some time checking out the reviews and archives here at Videomaker forums.

      Finally, bringing this L-O-N-G response to a close, for now πŸ˜‰ you can get some good information (some of it might be a bit dated, since I’ve been publishing it since 2004) at my blogsite at E.C. Come, E.C. Go, and check out the possibilities that Video StoryTellers! might be a good fit for you. I’m running a classified ad in Videomaker magazine, starting with the January 2012 issue for my complete guide to funeral & memorial video production and marketing that also offers support resource DVD/CD material following proof of purchase. The book is sold at Lulu Dot Com. E-mail me at earlchessher@gmail.com for a list of my current websites that focus on many of the things you might be interested in developing as a video business path.

      I would also share with you my enthusiasm in using GoDaddy for domain names, HostGator for website hosting services and WordPress for website development. Together this trio is an awesome set of tools.

    • #181889

      Earl –

      Thank you so much for answering so many of my questions. The Craigslist topice really made me rethink that avenue, as you are correct, there is a very bottom feeder mentality on there.

      I will certainly be checking out your blogs and continue to seek out more information about all of this as a embark on a videography career.

      Thanks again!

      Mark

    • #181890

      Earl –

      I was looking over your site, checking out all the various events you cover. I was particularly impressed with the video montage of the engagement couple. The transitions appeared very high end. I wanted to ask how you edit your video. I have been using Final Cut Pro 7 for a few months now, and I just received Adobe After Effects that I am going to be teaching myself in the coming weeks. If you use After Effects for the montague or some other brand of software. Just wondering, it looked really good.

      Also, when you are doing theatrical performances are you getting sound from the house board or do you just record with the mics you have? I was curious about the Karate demo you have on there. Was that in-house music over the students or was that your music added to make it more interesting?

      It’s been my experience that recording sound wild without going though the board is crap, and very unprofessional, but I do not have enough clout with anyone yet to get access to the soundboard. Just wondering how you handle that, and also what kind of tripod do you recommend? I am looking for something that can extend a little over 6 feet, to keep those pesky heads out of my shot. I have a pretty good one, but after an event this past Sunday, I found out real fast I could use a taller one, and one that does not cost $1,200 bucks.

      Thanks again for all your help/suggestions

    • #181891
      AvatarEarlC
      Member

      Hello again Mark,

      I’ll be sharing the “secrets” of my super montages shortly, but first I’ll try to address your other questions/comments, now that you’ve checked out a few things.

      I listened to the mantra, the ongoing blah, blah, blah from people, professed pros or otherwise, and probably a lot of people who had NO practical experience but were just parroting what the opinions (also often not based on practical experience) they’ve read/heard from others. Listened to them about WHAT? Hooking into the house sound.

      There’s “truth” & “consequences” to doing this. The TRUTH is that by and large the people operating those boards are in training half the time, volunteers much of the time and often wannabes, especially at venues that hold dance recitals and other performing arts gigs. THAT TRUTH will KILL your camera or other recording device’s circuits if you trust these people to hold the levels where you tested them, set the levels where you wanted them, or even sometimes NOT KILL your audio circuits but KILL the audio levels, leaving you NOTHING coming in. And you might always monitor your audio in with a set of headphones, but that doesn’t always mean you can walk away from your cameras in the middle of an ongoing performance and address the “issue” also, these people are WAY BUSY (mentally, really or otherwise preoccupied) and will not appreciate you dinking around with the connections in mid-performance, or asking them to dink around and trouble shoot for you.

      SO! My solution is to do my OWN sound, always. I close nearly always close mic the speaker sweet spots with my own rigs (usually standalone digital recorders) and nearly always use the ambient audio from one camera and feed in a wireless on an 8′ or so stand from near stage, fed to the other camcorder.

      I DO NOT, and never again unless I’m working with a genuine professional sound person or roadcrew audio engineer who obviously knows his stuff, will take feed from anybody’s soundboard or audio system. Gotcha’s have hit me too many times when I’ve taken the chance, or listened to the self-professed pros and I’m simply not in the mood to jack with it and run into production difficulties, losing gigs because of audio issues I didn’t create. Well, didn’t create but DID generate by trusting someone else with MY audio acquisition.

      In most/many venues, provided your camcorders have decent mics (Canon XL and GL series did/do) or you’ve added higher quality mic systems for on-camera acquisition, the ambient audio is better quality and levels sufficiently high to acquire your own audio from. Also, in many cases I’ve been able to obtain a CD used for musical performances and presentations and even a decent audio CD produced (rarely, but sometimes) by the same audio people who ran the boards. They occasionally provide the renter or program head with a copy if such is available to do, especially for dramatic performances in plays, etc.

      The music in the Tae Kwon Do demo clip was the same music they used, but I piped in my own source from CD to. as you say, “make it more interesting”.

      It has been MY experience, to the contrary, that for the most part, recording audio without going through the board is NOT CRAP πŸ˜‰ and not at all unprofessional, based on the personal experiences I’ve endured as mentioned above.

      Doesn’t take “clout” to tell you the truth, and if you ask, most people running the boards, if they even KNOW their equipment to tell you where and how or what to plug in with, will certainly do so upon request. Again, if you’re doing something for a well-established band or as in one three-day experience I had, a professional Flamenco troupe with their own sound person, then you can hope for the best. Even then though the guy burned the circuits on one of my cameras when he made some last minute adjustments. The troupe paid for the repairs and I wound up having to sync and use their CD (or they did, rather, after the expense of repairs and finding out how much more I was going to charge them for the problems that they created for the production). I did a demo round for them. They liked it, but then opted for doing the remainder themselves. Fine with me. I got paid for the work I did do, and the repairs to my camera.

      I’ve worked from a “shooting ladder” I purchased that is more stable and professional-looking than a standard utility ladder, and has a nice platform and leaning rail at the top that can get you “up there” and over the heads. At the same time, I’ve shot a lot of stuff where the silhouetted heads show a bit, even people walking across in front of the cameras, right in FRONT of us, and down at stage level. It’s a crap shoot, and our gigs always announce prior to the performance that it is being professionally videotaped and to use caution and consideration when leaving or accessing seats DURING the performance. The situation is that people simply do not care, don’t think and are severely discourteous and ignore the notices and announcements. Thus, when it occurs and is obvious in the final production, they know WHY and I’ve received no complaints, returns, lost no gigs or had any issues with show management or family customers as a result.

      I have a Bogen (now Manfrotto) and even using a Spiderpod, platform and full extension it is impossible to shoot EVERY gig knowing I’ll be above the crowd, so to speak. So, I’ve pretty much given up and accept the frustration of crowd interference and those wonderful silhouette shows that happen in spite of all efforts … like photographers at weddings so many of whom have NO regard for the video producer, stepping into and sometimes even (purposefully, it would seem) blocking shots. At one point in my career I carried a fat straw and white navy beans, using them to pop the photographer in the head when he/she stood in front of my unit/station for more than a split second. πŸ˜‰

      I can be feisty. And as I get older, nearly confrontational. I know, I know, not professional, blah, blah, blah, but … hey, I’m paid to get the shots as well.

      I also would like to get a Miller or some type of lightweight, strong-as-titanium set of sticks that does everything but carry me, but a couple thousand for them is out of my pay scale as well, so I keep plugging with my heavy, solid, built-like-a-tank Bogen. Sorry, can’t remember the model number off the top of my head, maybe like a 3097 or something, with a massive head and platform.

      Hope this is worth reading for you.

    • #181892
      Avatarvid-e-o-man
      Participant

       Casey, as you have probably discovered, Earl is one of the great sources for practical  information about the business of video. Mark, I totally agree with Earl about tripods. Manfrotto/Bogen makes great stuff, I haven’t read any bad comments of this sight about them. I was able to find one on Ebay used for less that $100(including shipping). It is model 3011 legs with 3130 fluid head. With the legs extended and the center post up, the camcorder sits over six foot from floor. It took about 2 weeks of looking on ebay but the result for the price was  worth it to me.

    • #181893

      Casey: Allow me to be to the point – been there done that!

      #1: Go HD. Non-negotiable. SD will be a dinosaur in a few years and you might as well get as much footage as possible and build up that library of good stuff – If you stick with SD, you will beat your head against a wall in 2 years when you DO switch over and the stuff you have been collecting is in SD – it will be pretty much useless and wasted time.

      #2: Get a powerful computer with 2-3 Tb or hard drive. Start to categorize the stuff and be ruthless in keeping only good stuff and chucking out that bad. 10 secs =50 Mb, so keep it thinned out and organized.

      #3: What do you want to do? If documentary is important then you will need a 1/3 – 1/2″ chip sensor with a built in 15-20X zoom. I use a Sony Z5 and love it. There is absolutely no moire and this is clean footage in low light. Incredible images. – you want that. The advantages are that this camera has deep depth of field. Shallow DoF does not exist. But if you want the background way out of focus – see step #4!

      #4: If you want creativity, then you need a larger sensor as in super 35mm, Canon 7D / 5D. But be warned, these are amazing cameras and the 5D is stunning for night shots, but sound is no good – so you need a separate recorder. The SONY NEX series is getting rave reviews that has obscenely good audio and interchangeable lens and super 35MM sensor I think. These cameras can throw the background out of focus, but the Canon 5D is a hell of a lot more work to get a great shot and keep it in focus – and you will ruin lots of good shots due to focusing issues. But when it is done right – they are winners. About the only way to get perfectly good shots every time is with a Marshall 5 or 7″ monitor and follow focus systems and that alone costs $1-2k.

      #5: You need good audio. Sound is 50%. The Sony records in 16 bit 48Khz stereo. you can use a line input, or phantom power, or internal stereo or external shotguns, or anything – auto or manual. Whatever you choose, make sure audio is tops. For my Canon 5D, I use a Zoom Hn4 4 channel. Hollywood quality.

      Don’t get caught up in gear. At the end of the day, the story always always wins. Technical wizardry, SFX and VFX are bandaids to good stories and sadly, today, there is far too much of it. Take a look at ET. Simple, loveable story – 15 years at the top of the list. Nothing special.

      You need good tools to make the story look the best. Get them and don’t scrimp. Then shoot, shoot and shoot some more. And oh, ya – get a good editing system. I use Sony Vegas Pro 11. Sweet program. Takes about a 3-12 months to learn it extremely well. The real story comes from the Editing room, but you better have good shots, good cast, good images and a good story.

      Now go get an Oscar!

      Dave

    • #181894

      Earl your information on this topic is invaluable, you have such excellent thoughts on being practical and really thriving in the world of video. Thank you so much for all the information you give out.

    • #181895

      I have another question for Earl –

      Earl,

      I have been making DVD’s for projects and I like to print professional labels for them. Long gone are the days of writing the titles on the dvds with a Sharpie. For a number of years I have been using a old, but very reliable Epson Stylus R300. Keep in mind my jobs have been small, so this works out great.

      Well that printer died today. And I want to get another one. I would like to stick with Epson, simply because they seem to be one of the only few printer companies that offer direct DVD printing at a reasonable cost.

      I don’t have a lot of money to spend. I am trying to keep it around $200 (including ink)

      I am looking at the:

      <h1 class=”parseasinTitle”><span id=”btAsinTitle”>Epson Artisan 725 Color Inkjet All-In-One (C11CA74201)</span></h1>

      <span>and the </span>

      <h1 class=”sans-serif” style=”margin: 2px 0 0 0; font-size: 140%;”>Epson Artisan 50 Color Inkjet Printer (C11CA45201)</h1>

      Both have their fair amount of supporters and detractors.

      I wanted to know what you use or what your thoughts were.

      Thanks

      -mark

    • #181896
      AvatarEarlC
      Member

      Hello Mark,

      I am currently on my second Epson Stylus Photo R380, the first one having reached that point where its overflow pad was full, automatically shutting it down. I don’t/didn’t have the knowledge, nor could I find info on the net regarding doing something about that issue, even though earlier models did have some overflow pad saturation solutions. I dug into the back of my first 380, wondering if I could figure it out, but not.

      My primary reason for wanting to continue with the 380, and perusing ebay until I could find one is that some years ago I also invested in a VERY EFFECTIVE CISS (constant ink supply system) or bulk ink system, if you will, that saves me SCADS on ink supplies … the refills for this system runs me about $65, less than a full set of branded Epson cartridges, and about the same as other cartridges on the market, refurbished or made in wherever. The supply provides the equivalency of about 11 full-cartridge changes, making for GREAT economics.

      The drawback, of course, is that large print runs are a pain. I bite the bullet and do it because the $2,500 and up auto-systems are above my pay grade. I simply design grad night runs of 400 to 500 and preprint them ahead of time when I’ve booked such gigs. For most everything else of 10 to 100, it’s not that bad of an issue. My computer allows me to multi-task, doing other stuff after I feed the print driver info for the number of DVDs or CDs I want to print. I do get up or reach over a lot, but it works for me, having to still mind my economics πŸ˜‰

      I’ve occasionally had visitors who handle feeding and stacking for me and that’s always nice. I feed them, treat them nice and with respect and sometimes even give them some money … Being anywhere from 10 to 15 these youngsters I occasionally have at my disposal, really LIKE the money part of it. Thus far I’ve not been accused of running a sweat shop or taking advantage of child labor πŸ˜‰

      Personally, I don’t know how a person can go wrong with Epson brand products. I’ve researched and written an article on CISS and the printers that utilize them, and the models and sources for the CISS units, costs, etc. It is a bit long in the tooth as I was waiting to see if it would get picked up as a magazine article, so I didn’t post it YET on my blog. But probably within the next 10 days, after doing some research and making sure the info is still accurate and current, I will post it there for people like you who seek answers for their printing problems, and wanting to pursue economical ways around paying full price for branded ink cartridges … the bane of EVERY person who uses the top name brands.

      Like Polaroid did with cheap but good cameras and expensive film packs, the printer brands do the same, offering relatively decent printers at great prices, then sticking it to the consumer on ink replacement.

      I’m sure my 380 is good for probably another year, but I need to do the research and prepare myself for that inevitable inkflow pad problem again. These guys do this because it’s cheaper than paying for someone who files a damages suit based on the overflow pad, well, overflowing and spilling that messy stuff onto desks, tables, into equipment and on the floor or carpet. Can be nasty. Takes forever for me to get it off my fingers when I get in too big of a hurry doing refills. Gonna get some gloves.

    • #181897
      Avatarvid-e-o-man
      Participant

       Mark, I’ve been using the Artisan 725 for a few months and am very pleased with the results from printing on DVD and Bluray printable disks. I purchased it from Epson’s website for $99, it is the white ‘artic’ model. I believe that it is still available on their site for this price. I am considering the cis system to add to it to save on ink costs and am looking forward to Earl’s article on this topic. I am not a large volume producer but I think that it would be worth it to switch.

    • #181898

      Thanks Earl and Vid-e-o-man!

      -Mark

    • #181899

      Vid-e-o Man!

      I just ordered the Artisan 725 from the Epson site, it was 99 just like you said and it will be perfect for this 1st stage of my business, while I try to make a run at making money doing video this year.

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