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“Teach” FCP Timecode Order
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Gotta tell you guys. If this was done right this capture would be done by now.
What a crock. I’m telling ya, I’d be talking to the client and telling him that it needs to be copied and re-logged from the copies. 200 tapes? Their log will help you still. It will be somewhat faster with it.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski.
8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX Cinema Displays
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[Jerry Hofmann] “Gotta tell you guys. If this was done right this capture would be done by no”
haha adding insult to injury.
I haven’t worked on a project with 200 sources in years…but now that I think about it It’s always the most unorganized clients that have that many source tapes. why is that.
-mattyc -
I can tell you why… it’s just another example of people not being seasoned or trained well enough to do this correctly, and these same people are too lazy to spend the time to learn it. Thus they are disorganized too. Organizing is PART OF THE PROCESS of doing this ya know? (See: Shane Ross’ DVD” sold here at the cow in the training link above).
It’s all part of the syndrome that since you have a viewfinder, you’re now a shooter, and since you know shooters, you’re now a producer (course ANYONE can direct and light, right?)… cripes. I can’t tell you how many times a client has come to me and said “we shouldn’t have hired this kid, he obviously doesn’t know what he’s doing. Can you fix this?”.. My reply has always been “You bet! we’ll start by re-writing and reshooting”.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski.
8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX Cinema Displays
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The sad part about this is the main guy who shot this is actually quite experienced, although I guess not quite as much when these were shot several years ago. The whole idea behind the TOD timecode was to make it easier to sync the multiple cameras after the fact. Part of the reason it’s such a mess is because it was a documentary so it was pretty much “hey look, someones doing something: press record” most of the tapes aren’t even full.
Although possibly the worst part about the entire thing is that I’m the (payed) intern that got all this dumped on, so I’m not even getting payed well for it.
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Golly, the guys who set you up to do this didn’t want to do it themselves because they knew it was a world of hurt sort of job… THAT’s what INTERNS are for I’m afraid. Do the grunt work that an expensive editor doesn’t want to do and shouldn’t actually be doing…
That said, talk them into dubbing the tapes and starting over. Bet it’s just as fast, and more importantly, in the event the tapes have to be recaptured now or later, they can be done as they should have been in the first place. BTW to properly capture and log 200 hours of tape is going to take around 400 hours… so at least a month or more…
Remember this: shooters don’t edit much… and they really don’t care about post workflow problems. It’s Shooters who came up with “we’ll fix it in post”… ALWAYS bad, and saves them the work of doing it right in the fist place. Gotta say, I’ve seen a shooter live with a C-Stand in the corner, or a mic overhead, and said… aw they can just expand this in post and lose the problem… Yeah right. Let’s cremate the video because the shooter was too lazy to do another take and move a C-stand? Cripes.
What’s weird, is that it’s editors who get them their next job. Shooters should understand this. It’s the editor who to the producer or director says: “who shot this?” then if the reaction from the editor is that it’s really awful, that shooter just lost some future work. If the editor says “it’s wonderful”, guess who gets hired again next time! The shooter gets another job and referrals… Shooters are way short sighted in general I’m afraid. The really good ones always keep the editor’s job in mind. Always.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski.
8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX Cinema Displays
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Yeah, you’ve got it spot on. My boss is always saying “The reason you’re here is because you are smart and know the software. If it were easy I’d do it myself.”
The only problem with doing that (and it really isn’t [i]that[/i] big of a problem is my boss wants to use the old clips he logged, but we did consider wiping the timecode and starting over. Luckily not all of the tapes are bad, there are some that have no problems and let me take a short nap 😛
And yeah, as much as my boss calls himself a “shooter-editor” the extent of the editing he does is drop selects on a timeline, but luckily he is better about shooting so the editor doesn’t have an aneurysm. But at the end of the day it doesn’t matter how he shoots since he owns the studio.
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Ya got that right.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski.
8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX Cinema Displays
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