Andrew Kimery
Forum Replies Created
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[Sjon Ueckert] “A simple question; have you ever had to add visible time code to a 90 minute video for transcription? If you are using FCP7, be prepared to let your system render overnight (it takes about 7 hours – and I have a very powerful system)”
Not to side track the thread, but what were you doing to make it take so long? I recently worked on a doc with around 250hrs of footage and every minute either got logged or transcribed and footage that arrived in the morning was ready for transcription or logging that afternoon (this included copying footage onto a local drive then using Log and Transfer to rewrap the file into a QT for FCP). I’d drop the clip in Compressor (our custom settings included the TC burn in) and let it go in the background as I continued to work in FCP. It wasn’t as quick as 30min but it sure as heck wasn’t 7hrs either.
-Andrew
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Scott,
Doesn’t what you just said apply to every reel (and resume for that matter)? It’s step one in the weeding out process of hiring someone. If 100 people apply for a job I doubt you are going to interview them all, ‘audition’ them all, and call all of their references.
Bryan,
If you have enough material you should make separate reels (like Brendan suggested). Commercials and trailers on one reel, unscripted/documentary on another, scripted on yet another, etc.,. For your reels stay away from just a montage of all your work. I see this all the time and don’t understand why editors do it because it doesn’t display any skill other than editing a montage. Probably the only time you could get away with that is if you cut easily recognizable movies/TV shows but if you are doing that you probably don’t need a reel to get work. 😉-Andrew
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I certainly remember condescending attitudes from some Avid stalwarts but I also remember antagonistic remarks from some FCP flag wavers too. I doubt long time Avid users liked being called dinosaurs that soon will be put out to pasture (pardon my mixed metaphors) any more than FCP users liked being chided that they settled on FCP because they couldn’t afford a ‘real’ NLE. As Chris alluded to a similar rift has appeared between FCP Legend and FCP X and unfortunately the irony is lost on some people (on both sides of the isle).
[Brett Sherman] “For my workflow, it’s just not the best choice at this point.”
And ultimately this is what it all boils down to in the end. Not all workflows and personal preferences can be accommodated by one tool.
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Even when doing internet work I always do my best to adhere to b’cast standards because you never know when someone will want it put down to tape or DVD and I hate doing the same work twice (this goes for title safe too).
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Thanks for chiming in Jeremy. If I get some down time soon I’d like to start poking around with FCP X’s multicam feature as it sounds like the bees knees in many respects.
Bill, I look forward to getting your input as well.
Due to variables in the field I feel like there’s no way to escape having to make a sync map (at least some of the time) but after that I wish there was a single button push to turn everything in that sequence into a single multicam clip. Sounds straight forward to me but I’m not a programmer. If someone did come up with a simple yet robust application or plugin that could do this it would save productions so much money it’s not even funny.
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[Bill Davis] ” Now my opinion can be summed up as I want two windows when there’s a reason to have them. And when I don’t need them – I’m much happier with just one really smart window.”
I think that summed up everyone’s opinion. The disagreement was on when there’s a reason to have a second window. 😉
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Express Pro was EOL’d in ’08 (I think) and it also seemed like the red headed step child of the bunch. Avid’s begrudging attempt to answer FCP. During most of that era I was primarily using FCP so I missed much of the first hand experience with Avid’s attitude and management at the time though from what I understand a lot has changed.
As far as user bases go… they all have their loud mouths and I’m surprised you’d rule out a tool (a promenant tool at that) because of that. I mean, it wasn’t that long ago that suggesting FCPX could benefit from having a second viewing window would get you an earful from some people.
I’m sure it just wasn’t the user base and there were things with Express Pro that you didn’t like but a lot has changed between then and now. I used to own Premiere 6.0/6.5 (not PPro) and hated it. When Adobe said it was rebooting Premiere and it was Windows only I was like good riddance (I’d mainly gone Mac for editing by that time). Now I’m starting to kick the tires on Premiere again (out of necessity and because it’s a whole lot better than it was even just a few years ago). You never know when something will be useful to you again. Hell, FCP X is probably 8th or 9th down on my list of software I feel I should know but I’m open to the idea of it moving up if the situation changes.
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You can place a folder inside a folder in Avid so I guess I don’t see why bins need to be folders. One of the great things about Avid is the bins and how the avid folder/bin structure is mirrored at the desktop level and can be manipulated at the desktop level. For a single user it’s probably not a difference that makes much of a difference put in a multi-user, shared storage environment Avid’s approach is awesome.
For example, as new footage comes in an assist can propagate it to all the projects that need it merely by doing a copy/paste at the Finder level. No need to open up every project. No need to disrupt the editor. It’s great. Need a sequence or some custom FX stored in a bin? You can open up any bin from any project and copy out what you need and since Avid keeps track of who has what bin open there are no worries about multiple editors opening up the same bin and accidentally saving over each others work.
IMO Avid’s project structure is fantastic and it would be a really shame if they moved away from it.
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Yeah, 1080i60 is a 1920×540 field every 1/60 of second as opposed to 1080p30 which is one 1920×1080 frame every 1/30th of a second. The date rates are similar but the image quality and motion characteristics are different.
My gut reaction was the same as Shanes (cut in 1080i then deinterlace later) but any GFX you use will most likely get killed if you start in “i” and end up in “p”. So you could either convert to “p” first or cut in “i”, export a high res ProRes master (w/o GFX) in “p”, drop that into a new progressive timeline, add GFX, then export again.
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For a computer screen why not a good Dell or a monitor that uses the same panel as the 27″ Apple but costs significantly less like this upcoming one from Monoprice?
https://nofilmschool.com/2013/01/apple-monitor-27-inch-display-monoprice/