PLEASE I GOT A JOB !!!! but whats this????

[Burt Hazard]

You’re right, they don’t teach this stuff anymore… I have a day job in Master Control and you’d be amazed at the crap that comes in on a daily basis!

[Arnie Schlissel]

[Mike Cohen] “Apparently they don’t teach these skills anymore at video programs, only engineering.”

Self taught editors don’t always know what to add to the curriculum. 😉

Arnie
https://www.arniepix.com

[Ron Thompson]

Welcome to the world of post!
If you don’t understand these basic “delivery requirements/specs” you are better off sending your tape to a pro to have this done. Maybe they will be kind enough to let you sit in and watch.

This is not something you want to get wrong because networks/broadcasters/engineers/QC folks have every right to reject your tape and withhold funds!!

In my experience, FCP scopes are accurate, but I always cross check my masters on an external scope. Also, with those deliveries, make sure you are fulfilling other standards like Bars and Tone, Slate, countdown, TC requirements, audio requirements, etc.

Good Luck
Ron

[Tae]

[i]
How do I read the waveform???? to read those values?
level of black screen 7.5 IREfor example?
[/i]

This is my problem with FCP. It creates a market where people with no idea how to read a waveform/vector are getting work. I apologize if I sound harsh, but there is really no excuse for this. You should know this. Nobody should have to tell you what the basic broadcast specs are. You should know how to create a mix-minus master. You should know what an L cut is. You should not have some music on tracks 7+8, other music on 1 and 2, other music on 4 and 5, and so on. You should only put Bars and Tone on the tape if they MEAN something. You should know the difference between Drop and Non-drop. You should know what VITC is.

Rant over. I don’t hate FCP, it’s a fine program that is still getting better with every release. My problem is with the effect is has on employers who see it as a means to be cheap.

[Ron Thompson]

I hate to agree with you…. but I do. 🙂 I think a lot of people think this, but don’t want to say it.
In a world where computers and high technology squeeze jobs out of the market place in favor of high school internships and lower budgets, fewer and fewer skilled people get a chance to shine.

This is not to put anyone down of course…please don’t take it that way… but the industry of production/post-production probably suffers the most from technological advances.

In the same breath we also have to except that this is where technology is now…and people have to start somewhere.

[Ron Thompson]

I hate to agree with you…. but I do. 🙂 I think a lot of people think this, but don’t want to say it.
In a world where computers and high technology squeeze jobs out of the market place in favor of high school internships and lower budgets, fewer and fewer skilled people get a chance to shine.

This is not to put anyone down of course…please don’t take it that way… but the industry of production/post-production probably suffers the most from technological advances.

In the same breath we also have to except that this is where technology is now…and people have to start somewhere.

[Tae]

[i]

I hate to agree with you…. but I do. 🙂 I think a lot of people think this, but don’t want to say it.
In a world where computers and high technology squeeze jobs out of the market place in favor of high school internships and lower budgets, fewer and fewer skilled people get a chance to shine.

This is not to put anyone down of course…please don’t take it that way… but the industry of production/post-production probably suffers the most from technological advances.

In the same breath we also have to except that this is where technology is now…and people have to start somewhere. [/i]

I appreciate what you are saying, and I mostly agree. It is a reality we have to accept, it’s just a bummer that some kid fresh out of High School who’s parents bought him/her an iMac can “get th job”.

Not that I don’t think it’s an excellent oppertunity for the kid, but it’s all gotta get done correctly SOMHOW. There has to be a point when this trend levels off.

[Ron Thompson]

[Tae] “Not that I don’t think it’s an excellent oppertunity for the kid, but it’s all gotta get done correctly SOMHOW. There has to be a point when this trend levels off.”

Hopefully soon! It doesn’t help that FCP is available at every CompUSA and Target in America (ok, maybe not Target, but you get my point). If this trend levels off…maybe the “pros” of Final Cut PRO can breath a little easier.
I couldn’t graduate from college if I didn’t know every equipment label of every piece of equipment and how that equipment worked in my TV production class for my major.

[Robert Broussard]

Ron, back in the day when I started editing (1980’s) with 3/4″ I was monitoring composite…. Now I’m shooting with DV and mastering to DVCAM or other digital SD formats–so, what signal should I be monitoring? On my DSR-1500A I can monitor: composite, y/c, CAV, FireWire, and SDI (optionally).

Also, I have a need to archive some footage (Hi-8 to DVCAM) via a transcoding TBC that will allow Y/C in and CAV out.

Okay, to simply monitor composite?

What do you recommend?

Thanks,

Robert

[Graeme Nattress]

For monitoring, SDI will give best, followed by component, then S-Video and composite at the bottom. I’d say, you want at least s-video monitoring, but it’s sometimes uselful to monitor composite to check for composite artfiacts.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP