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Fwd: Re: EDP Tutorial Video







Matthis-

Thanks for your e-mail.

Sounds like Kim isn't ready to commit too much to a project like this,
unfortunately.

I don't think that expecting Gibson to take this on is too far fetched.
Especially if enough people bug them about it.

I'm beginning to see two ways this can go:

Gibson, or somebody else with money, authority and interest, does a
really professional production (graphics, scripted, comprehensive,
etc.).

[What about other third party production houses who have already done
similar projects ?]

Or 

LD people do a no-budget, home-grown show-and-tell kind of thing that
covers more ground than just the EDP (like has already been discussed).

I want to see both happen, actually, but think option one is a bit more
realistic and ultimately useful, maybe.

I would volunteer some time to do the order fulfillment function, but
that's the only area of this project that I am really qualified to do. 

The most important element is finding the right guy(s) with the skill
and know-how with the EDP. Another reason why this is maybe best left up
to Gibson. Is that just a pipe dream ?

Glad you're thinking about this.

-Jordan








Kim said:
>I was half joking really. But I'm curious what you include in the cost
>there, because I really have no idea about a project like this. You guys
>seemed to know something about the subject, so I'm just asking you direct
>rather than bother the whole list with it.
>
>Is that $10k just the cost of producing it? Does that include duplication
>and media costs? packaging, printing, shipping? (I'd imagine we would want
>to make 1-2000 copies.)

I guess the user would pay for his copy, so at least these direct 
cost could be covered, I think.

>Travel costs to get whoever the instructors are to
>the same place where the equipment and producers are? (for example, maybe
>Matthias flies up from Brazil, or david torn flies in from new york or
>whatever.)

I dont think that there should be any traveling. Each contribution is 
filmed by people around the contributor. Bad filming does not enter 
the final cut.

>And somebody needs to manage the whole thing, which I guess
>must be everything from writing the script and coordinating the crew to
>editing to taking orders, stuffing envelopes, and driving to the post
>office a lot. How big of a job is that?  I'm guessing it's more than a
>saturday afternoon, but how much more?  Does this guy need to be retired 
>or
>independently wealthy so he doesn't need to quit his day job to do it all?

That would be like an Editor, right?
Well, we had CD projects working out right, this one is not that different.

The first step could be that each one does his thing and sends it to 
the Editor. He selects and cuts out parts that are clearly repetition 
from several contributors.

Then comes the dificult step:  We dont just want to give ideas but 
really explain how it works. So we have to figure out what is lacking 
and complete. Maybe it takes a person with skills in teaching to 
figure out a good way to make things understandable. And I think 
demonstrating musicians is not enough, it takes some graphics to make 
it clear. So ideally, this teacher has a computer where he can do 
animated graphics (PowerPoint...)

Done this filming, it goes back to the editor who does the final order 
like:
- and introduction, showing to anyone how looping is fun and flexible
- the basics, theory, fundamental functions
- applications, each one shows his tricks and style

Then the final thing could go to Gibson for the distribution, no? 
Unless someone whants to do that, too...

The question of wanting money from Gibson or doing it freely is delicate.
Maybe the best is to start out freely and when it grows to a 
something impressive and needs money to finish, look for Gibson and 
negociate.


          ---> http://Matthias.Grob.org