Andrew Kimery
Forum Replies Created
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[Walter Soyka] “The irony is that it deletes a folder that the backup system uses to identify the drive (and thus does not backup).
Direct link to Backblaze’s workaround:
https://backblaze.zendesk.com/entries/98786348“Obviously if you are a Backblaze user you have a unique problem, but non-Backblaze users (or Backblaze users that also do local, manual backups with another app) should be able to restore the missing files from a recent backup I would assume.
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[Steve Connor] “Shocking! Have Adobe issued any guidance on how to repair any damage this monumentally stupid piece of programming has done?”
Hope you have a recent backup on hand?
Autoupdate is the devil and I really hate it when companies have it turned on by default. I know software creators (especially those making operating systems) like it because users in general are bad at keep things up to date (which could leave them open to security flaws), but having things change w/o the users permission/knowledge is no bueno.
I try to turn off autoupdate anytime I install new software but sometimes I don’t always remember to.
-Andrew
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I run into the same problem every now and then, but only with multicam sequences. I’ve never been able to hammer out a reason why though. I’d suggest submitting a bug report as I’ve heard that the amount of bug report submissions help determine which bugs get addressed first.
-Andrew
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ScriptSync would allow you to ‘marry’ a script to it’s corresponding video (ex. you would click on a place in a script and the video would be loaded into your source monitor) where as PhraseFind would allow you to search for a specific word or phrase (with varying degrees of accuracy) w/o the need for a script. Separate but related functions.
Boris has a product called Soundbite which functions similarly to PhraseFind (some technology powers both).
https://www.borisfx.com/products/soundbite/
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[Hector Palatio] “This being said, it didn’t resolve my specific timeline crash bug at all… So I guess, I’ll have to completely re-edit that multi-cam scene and hope it doesn’t freak out this time and is able to get flattened.”
Try creating a new PPro project and then using the Media Browser to import your exiting project into the new one. Sometimes that will be enough to get of some corruption that has taken place.
-Andrew
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[Tony West] “I will toss in on this topic. After just finishing an investigative doc as the producer director and editor I can certainly tell you that my “script” changed plenty of times. “
No one said the script never changes. The position was pretty much that the better the script, and the better the execution during production, the better post production will go. Basically, let’s avoid fixing it in post if at all possible.
[Tony West] “When you are doing a doc, these people have no obligation to be in your film. They can say yes or no. It’s up to them and that’s part of what you have to deal with as a producer/editor.”
And I’m sure during the course of your shooting if I asked you why are you shooting at location X or, why are you interviewing person Y that you’d be able to explain your reasoning to me. You might not know exactly what the interviewees are going to say, but you have a general idea of the information you are seeking and roughly how that will fit into your story. Long story short, you have a plan (even if that plan gets tweaked after each and every shoot).
For example, I cut a feature length doc about Lenny Bruce that originally started out as just a 10min behind-the-scenes piece about a guy named Matt researching, writing and acting in a one-man play based on part of Lenny’s life. This project was shot and cut over the course of six years and had many ‘re-writes’. It went from a BTS piece, to a full blown follow doc about Matt’s journey, to a doc-within-a-doc (think “This Film is Not Yet Rated), back to a follow doc about Matt’s journey and ultimately ended being a PBS-style historical piece that had no mention of Matt or his play. Those are some drastic course changes, but every time it happened the director and I would reformulate our plan of attack (what do we need to shoot now, who do we need to interview now, what questions do we need to ask them, etc.,.). Our final two interviews were Richard Lewis and Hugh Hefner. We really had no idea what Richard Lewis would say (but one of his bites ended up kicking off the beginning of the film) where as with Hefner we had some narrative points that needed fleshing out so we asked him more specific types of questions to help fill in those gaps.
On the flip side I also worked on a doc where the director wanted a more cinema verite approach but he didn’t have the resources to shoot a lot (which you kinda need in order for verite to work) so I ended up with a lot of footage of the people but not a lot of story. The director also knew the people very well so the story about them in his head was much more fleshed out than the story he actually captured on tape. I still think the piece turned out well, but it could have been better (and required much less work in post) if there and been more focus and clarity during production about what the story was and what needs to be filmed in order to tell that story.
My rambling point? Even in docs you need a plan (some sort premise, script or outline) and you need quality execution during production otherwise you are going to be hurting in post.
-Andrew
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[Dan Turner] “To clarify one point. “Industry” was to mean the film and television industry at large. Both Hollywood/network and Indie.”
‘Hollywood’ films and scripted, ‘network’ TV shows are by and large done on Avid. Reality TV shows are also done on Avid 9 times out of 10. The lower down the pyramid you go the less you see Avid used so only knowing Avid probably isn’t the best idea. Keep in mind that the film industries in places like Louisiana, Georgia, Toronto, Vancouver, New Mexico, etc., are extensions of Hollywood so the same tendencies apply (though I think most of the film work in those places is production and post either ends up in LA or NYC).
Based on job postings I’ve seen that are mainly from LA and NYC (both scripted and unscripted) I’d say Avid is the most requested, Premiere Pro is a growing number two, FCP 7 is a falling number 3 and FCP X is a growing number 4. Asking people that don’t already know FCP 7 to learn it now is a bit of a waste of time, IMO, so I would tell them to have working knowledge of Avid, Premiere Pro and FCP X because you never know where you are going to end up (especially if you are just coming out of school).
[Dan Turner] “My research is to help film students who graduate. Trying to give them a sense of which skill set is best to have, by being most proficient in the dominant editing software.”
Off the top of my head here are some things I’d tell students before telling them which NLE to focus on:
1. Work/volunteer at post facilities so you can learn how things work in the ‘real world’ as opposed to how you made things work for class projects and homemade movies.
2. Have a 10yr plan with short, medium and long term goals (ex. 2yrs out, 5yrs out and 10yrs out). Anyone expecting to go to a major market and work on major projects as an editor right out of school is delusion, and w/o a plan you can spend years spinning your wheels or unknowing head in a direction that isn’t where you want to end up.
3. It’s a never ending grind that will chew up the majority of people and spit them out so be tenacious, patient, and mentally prepared to have more failures than successes. The people that ‘make it’ are the survivors, not necessary the best or most talented. And by never ending I mean never ending. I know people that have primetime network credits and have been working in LA since the 80’s and they still hit dry spells every now and then.
4. Be financially prepared too. If you don’t have at least 8 months of living expenses (rent, car, food, phone, etc.,.) don’t move to the big city. Once you are in the big city keep at least 8-12 months of living expenses in the bank at all times. Places like LA and NYC are expensive and running out of cash is a surefire way to derail your career goals.
5. Have fun and just because you will most likely fail doesn’t mean you shouldn’t give it a shot anyway. “Because it’s there” doesn’t just apply to Mt. Everest.
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[Adam Levine] “In any event, even if it is limited to mobile chips, how has Adobe not dealt with this yet? Their whole pitch to us for the subscription model was that this stuff would get fixed quickly, not linger. This is not the only bug that has stuck around for several versions.
“Some bugs are harder to fix than others and not all bugs can be fixed at once. With any given release some users are going to be happy that ‘their’ bugs got fixed and some users are going to be upset that their bugs didn’t.
Some things are also out of Adobe’s control. IIRC the CUDA problem some users are experiencing is either related to Apple or Nvidia’s GPU driver so Adobe is stuck waiting on someone else to fix the problem and/or trying to find a workaround (which may or may not be possible). I know some posers have said that doing a completely fresh install of OS X (as opposed to an upgrade install) solved the CUDA problem which points a problem related to OS X, not Adobe.
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[Ariella Furman] “I tried to go to preferences and change all my future audio to Mono so when I just bring a clip into a sequence, it creates 2 channels. However, with Plural eyes, I can only seem to get it to stick both the tracks into one track (A1). Anyone know a solution? Thanks!”
If you use PPro’s built in syncing it will obey your ‘import stereo tracks as mono tracks’ preference that you selected.
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[Bill Davis] “Did I mention that using X is like living next door to a friendly nobel prize-winning supermodel that bakes and shares cookies?”
I’m glad you mentioned both baking and sharing because baking alone just wouldn’t cut it.