How to rip the sound track from a DVD (2013)

* Rip the whole DVD into chapter VOB files using SmartRipper (NO stream processing)

* DeMux the VOB files into AC3 using VOBEdit

* Convert AC3 to MP3 using BeLight

How Much Do Models Make?

* Median salary:  $32,920 a year

* Highest salary:  electronic shopping & mail-order

* Most lucrative:  fragrance & designer ad campaigns

* Models can make money from modeling and from personal appearances & merchandise (calendars & exercise videos)

* Fashion catalog:  $200-$300 per hour, or $1,200 to $3,500 per day

* Typical catalog shoot lasts 2-5 days

* Fashion print ad campaign:  $250 per hour

* Non-fashion ad campaign:  $500 to $1,200 per day

* Lifestyle print:  $400 to $950 per day

* Swimwear & lingerie editorial:  $400 per day

* Swimwear & lingerie catalog:  $7,000+ per day

* High-end ad campaigns:  $40,000 to $1,000,000

* Fragrance ad campaigns:  $100,000 to $1,000,000

* Cosmetic contracts:  $300,000 to $2 million per year

* Multi-year contract with Victoria's Secret as an Angel is the most prestigious

* Men's high-end catalog:  $8,000 to $15,000 per day

* Men's catalog shoot lasts 1 day

* Most famous male models can make $200,000 to $500,000 per year

* Video commercials:  $2,000+ per day plus residuals (length of campaign and location)

* Runway:  $250+ per hour

* Models can walk up to 20 shows in one fashion week

* Top models can make $200,000 per season

* Part model:  $300 to $500 an hour

* Fit model:  $150.00+ per hour

* Promotional model:  $1,000-$4,000 per day

* Real people promotional model:  $15-$30 per hour, $200 per day

* Real people commercial print:  $75-$150 per hour, or $400-$950 per day

* Real people ad campaign:  $500-$1,200 per day

* Real people average annual salary:  $10,000-$40,000 per year

* Glamour editorial:  $600

* Non-union extra glamour actress:  $64 per day

* Art modeling:  $25 per hour

Ten Reasons to Date a Fashion Girl

10 REASONS TO DATE A FASHION GIRL

As if you needed one...

By Kerry Pieri

Nov 22, 2013

1. You'll never wear an embarrassing outfit again. We know you've just been waiting for someone to finally make you throw away those cargo khakis.

2. Cool parties, restaurant openings and impossible to get into clubs will become your regular evening plans. And not that you'll even care, because you'll be dating your gorgeous fashion girl, but you will regularly be standing next to supermodels at the bar.

3. Your BFA photo number will sky rocket. If you're into a little exposure for that pet project/app/e-commerce site you've been thinking of launching, it certainly can't hurt.

4. And in turn, your Google ranking will increase. That embarrassing photo of you from 2004 from your company site will no longer hold the number one spot in your Google image search.

5. She always looks perfect for any occassion. Aprés ski? Check. Brunch? Check. Meeting the parents? Check.

6. Your mom will love her for all the free beauty products.

7. Two Words: Press Trips. Two more words: Editor Discounts.

8. Years of climbing the ladder, attending events, industry dinners and market appointments make her well-versed enough to talk to just about anyone—and great company at cocktail parties.

9. Stamina. She can go to work all day, party all night and still make it to her Soul Cycle/SLT/Yoga class in the morning.

10. People are constantly underestimating her because she works in a seemingly frivolous industry—but she's well-educated, hard-working, intelligent and cultured, and she'll defy expectations every time.

How Much Do Adult-Movie Actors Make?

Most male performers in heterosexual porn are paid less than their female counterparts. Ron Jeremy has commented on the pay scale of women and men in the sex film industry: in 2003 "Girls can easily make 100-250k per year, plus stuff on the side like strip shows and appearances. The average male makes $40,000 a year." and in 2008, "The average guy gets $300 to $400 a scene, or $100 to $200 if he's new. A woman makes $100,000 to $250,000 at the end of the year."

In 2011, the manager of Capri Anderson said, "A contract girl will only shoot for one company, she won't shoot for anyone else. Most actresses in the adult industry are free agents – they'll shoot for anyone. Most contract girls make $60,000 a year. In one year, a contract girl will shoot, on average, four movies and each movie takes about two or three weeks to shoot."

The Los Angeles Times reported that the pay rates for a female actress performing male and female scenes were $700 to $1,000.

Some state that gay male porn generally pays men much more than heterosexual porn. Men who identify themselves as heterosexual but perform in gay pornography are said to do gay-for-pay (notably Wolf Hudson). This means they perform in gay movies only for the paycheck.

According to producer Seymore Butts, who runs his own sex-film recruitment agency, as well as producing sex films; "depending on draw, female performers who perform in both straight and lesbian porn earn more than those who do [just heterosexual scenes] usually make about US$200–800 while those who only do oral sex (blow job) usually only make about US$100–300 for the scene". It was also noted in an interview conducted by Local10 news of Florida that individuals were offered $700 for sexual intercourse while shooting a scene of the popular series Bang Bus in 2004. According to Videobox, a porn website, actresses make these rates: Blowjobs: $200–$400; Straight sex: $400–$1,200; Anal sex: $900–$1,500; Double Penetration: $1,200–$1,600; Double anal: $2,000. For more unusual fetishes, women generally get 15% extra.

In 2001, actress Chloe said of pay-rates; "In Gonzo, you're paid not by the picture, but by the scene. So it's girl-girl: $700, plus $100 for an anal toy. Boy-girl: $900. Anal: $1,100. Solo: $500. DP: $1,500."

Additionally, besides appearing in films, porn stars often make money from endorsements and appearance fees. For instance, in 2010, some night clubs were paying female porn stars and Playboy Playmates to appear there to act as draws for the general public; Jesse Jane was reported to have been paid between $5,000 to $10,000 for one appearance by a Chicago club.

How to Become a Fashion Photographer

How to Become a Fashion Photographer

A career in fashion photography doesn't have to be an impossible dream. Three industry insiders tell Ben Widdicombe their tips for getting started. 

With its huge audience, high pay-checks and glamorous international lifestyle, fashion photography may seem like one of the world's most sought-after professions. But for every fashion photographer who makes it through the door of a top magazine, a thousand others find their niche fashion advertising, art photography, celebrity portraiture or even paparazzi work to make a living. 

Allure magazine photo editor Clio McNicholl, photo agent Gloria Cappelletti and New York fashion photographer Eva Mueller agree that breaking into the industry can be hard. But they have some tips for beginners on setting up a portfolio, submitting work to magazine picture editors, choosing the right photo agency and even getting shown in a gallery. 

Setting Up a Portfolio

A photographer's most important tool is her portfolio, and this is particularly true for beginners who don't have an established reputation. 

"Having been around, I know how hard it is to get in the door," says Allure magazine photo editor Clio McNicholl, who receives around 50 unsolicited portfolios a month. Conde Nast's Allure, with a monthly circulation of almost 900,000, is a prime target for beginners wanting to get their work seen. "If I don't know who the person is, I ask them to send me some promotional material. Generally I only see people who are coming with a direct recommendation from somebody I know," she says. 

Many photographers find that websites offer an inexpensive way to showcase a relatively large quantity of images. Eva Mueller (www.evamueller.com), a Munich-born fashion and beauty photographer who has been living and working in Manhattan for ten years, points out that computer editing is also a method of keeping down retouching and printing costs. 

But despite the medium's advantages, most industry professionals will still need to see an old-fashioned book before they hire you. By all means use the web as your calling card, but have something to show them when they call you in for a meeting. 

Many fashion photographers find the sharp, bright imaging of 4 x 5" transparencies show off their work to best effect. Tear-sheets (literally, pages ripped from a magazine) are great if you've been published, but good quality, 8 x 10" prints are also OK. Have at least 20 in your book, and be prepared to leave them for at least a week. 

"I like to see a common thread throughout the book," says Clio McNicholl, who says she can tell within three images whether she likes a photographer's style. "Tell a story: not necessarily having all the pictures relating to each other, but I like to have some sort of sense at the end of it that I've seen that photographer's personality come through in the pictures." 

The images you choose to showcase in your portfolio should be thematically linked to the job you're trying to get – still-lifes or product shots if you're going for an advertising gig, for example. But also throw in one or two other images to demonstrate your range. Strong portraits are always a safe bet, as they tend to stay in the mind of the viewer. 

Once you've got your portfolio together, the next challenge is to get the picture editor to use you. 

Picking Your Picture Editor

"Most people who cold call me haven't done their research, which is the world's biggest mistake," says Clio McNicholl. "The single biggest thing that people should do is their research. They should know what the magazine does, and see how you can apply that to what you do. And they should at least know the name of the photo editor." 

When you submit work to photo editors, remember that you're "showing" rather than "selling". Editors almost never buy the specific image they see before them; they're looking for a photographer who can execute future commissions. You'll need to be persistent in sending out your work, and ruthless in editing what you choose to show. 

The best way to grab an editor's attention is to show previously published work. But there's a down-side. "Because there's such an over-supply of photographers, a lot of magazines really take advantage of that fact," says Eva Mueller. "Some mags have a decent budget, but a lot of magazines just cover your expenses, they don't pay for your time or anything. And a lot of magazines don't pay at all." McNicholl says Allure's rates start at $350 a day for unknown photographers, up to $130,000 for a fashion spread. 

A photograph is a document just as much as an article or an essay, and picture editors are looking for concise images which clearly communicate an idea or an emotion. Celebrity portraiture, for example, should reveal an aspect of the subject's character, preferably one that is in harmony with the accompanying written profile. Women's magazines all over the world buy hundred of stock shots every month – typically young women having fun with their boyfriends, hanging out with friends, or maybe moping home alone with their stuffed toys – all of which express a sentiment commonly dealt with in feature articles. If your work speaks clearly, you'll stand a much better chance with picture editors than with vague or ambiguous images. 

When you're submitting your work, remember: 

- Call the magazine ahead and get the name of the person to whose attention the submission should be marked - Label everything with your name and telephone number - Send working prints or transparencies, not originals - Include a stamped, self-addressed envelope if you want the work back 

Eve Mueller has one last warning about dealing with magazines: "Another bad thing is not getting paid in ages – months and months and months. Some clients really take advantage of the fact that there are so many photographers out there: they make you pay for the whole shoot, they alter your pictures and don't tell you when they drop the story. Sometimes they're just really disrespectful toward the photographer." 

There is a way to avoid having to deal with photo editors, however: and that's to have a photo agency do the selling on your behalf. 

Finding a Photo Agent

Photo agencies exist to liaise with clients and sell photographers' work on their behalf. They benefit everyone from start-out photographers, who may not have many industry contacts, to seasoned professionals, who are too busy to take care of business dealings themselves. 

Gloria Cappelletti is an agent with the Management Artists' Organization (MSO) in Manhattan, which represents a stable of prominent fashion photographers including Stevein Klein, Michelangelo di Battista, Stefan Sedanoui and Alexei Hay. 

"First of all, it's vital to be known, and an agency is in daily contact with clients and publications," she says. "That's the best way for a young photographer to be able to have a connection with them, because usually the photographer is busy taking pictures, and the agent is busy talking to clients. And that's the way it should be. Usually the photographer doesn't have enough time to take care of everything." 

Agencies can also re-sell your work in several different markets, acting as a mini publicist and giving career advice. There are so many agencies – and so many photographers – that Cappelletti says it's important to research which one may be right for you before making an approach. 

"The young photographer has to understand their target, in terms of their personal goals the direction the photographer wants to take," she says. "Everyone is different." 

Agents recommend treating your first contact with them as seriously as if it were a job interview. You should also consider whether they already represent someone whose style is significantly similar to your own – there may not be enough work for both of you, and the other photographer could resent the competition. 

A photo agency is not the only place that can sell your work. If you're more interested in concentrating on your personal vision than taking commercial work, you can also considering exhibiting in a fine art photography gallery. 

Getting a Gallery

Once derided as a scientific curiosity with no artistic value, photographs are now one of the hottest growth areas in the international fine art market. 

While gelatin silver prints are the staple of fine art photography, you'll find a healthy interest both in contemporary photos using antique methods (such as Chuck Close's daguerreotypes), as well as modern printing methods, including Cibachromes and C-prints. 

Like any artistic undertaking, art photography is unlikely to pay you a living wage for many years. Although many artists sell their work directly from the Internet, critical attention and the strongest sales come from a relationship with a Gallery. While there is now at least one photo gallery in most major cities, the center of the world art photo market is New York. Manhattan boasts around 100 galleries dealing in photographic prints, and prices there tend to be strongest. A comprehensive list of New York and international galleries is available at the websites of the bimonthly listings guide Photograph, as well as the Association of International Photography Art Dealers. 

Before approaching any gallery with your work, you should telephone and request details of their submissions policy. Many galleries review new work only at set times of the year, and even to get in the door of some places you will need the recommendation of somebody known to the gallery directors. (Sometimes it helps to drop the name of a well-known critic or museum director, even if your connection to them is tenuous.) 

If a gallery is interested in taking you on as an artist, they'll probably want to see a representative sampling of your work. Even if you have one or two knock-out images in your portfolio, a gallery will want to know that you have a mature body of work with a consistent standard throughout. Remember that many artists join a gallery simply by having their work go into the back-room inventory, where it will be shown to specific collectors, rather than having a public exhibition. Not everyone is offered a solo show. 

The most important thing to remember about working with a gallery is to maintain a proper business relationship. Every print you give to a gallery should be inventoried by you – not them – and you should understand when and how you can expect payment in the even of a sale. Industry standard is that the artist receives 50% of the retail price of a photo. 

You should also discuss whether you are free to have relationships with other galleries, or if your gallery expects exclusivity. If you have a New York gallery, for example, but then arrange to have a show in Los Angeles, sometimes the New York gallery will expect a cut (typically 10%). However, in return for that, they are expected to deal with details like paperwork and shipping. Each relationship between artist and gallery is unique, and you should get as much as possible in writing at the beginning. 

Understanding the Business

Unfortunately, it's not enough for a designer to be creative; you also have to have some business sense. As fashion gets more and more corporate driven, it's important to be aware of the business climate and understanding the mechanics behind it. By religiously reading trade papers like "Women's Wear Daily" you will get a lot of valuable information. If you want to run your own company, you need to be extremely organized and learn at least the basics of economics. A lot of fashion schools are currently increasing business classes in their curriculum. "Our students have to be smart enough to know how to negotiate a contract, or to pick a business partner," says Carol Mongo. It's perhaps telling that many of the designers that are really successful today, like Calvin Klein or Tom Ford, are involved in every aspect of the business -- from licensing strategies to ad campaigns to actually designing the clothes. 

http://www.fashion.net/howto/fashionphotographer