Andrew Kimery
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Congrats Rafael.
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3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
Thank you for sharing so much Jerry.
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3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
The line is definitely blurring but how much it has blurred depends on what market you are in and what segment of that market you are serving. For example, I know lots of places in LA working far away from “hi end” stuff yet there is definitely an offline/online process and gfx, music, final mixing etc., get done out of house. I also know places in LA where everyone has to wear more than one hat. If your client base is typically one that can afford to hire specialists than it’s in your best interest to specialize. If your client base is typically one that looks for a jack-of-all-trades than it’s in your best interest to generalize. It’s basically a trade off.
Generally speaking being a specialist can have greater rewards (more money, working on bigger gigs, etc.,.) but it also carries more risk because you are putting all your eggs in one basket, so to speak. On the other hand being a generalist makes you more marketable to a wider audience, but you’ll probably never become skilled enough in a single discipline to be part of the cream of the crop in that field. Neither is one is wrong. It just depends on what your career goals are at the moment. I say “at the moment” because I know a few editors that walked away from the ‘big leagues’ because of the stress and the toll it took on their personal lives. Most people who move to LA dream of editing movies and these people were like been there, done that, not doin’ it again ’cause I value my friends, family, and sanity. 😉
As fewer and fewer places do the traditional online/offline workflow the role of the online editor will change. For example, since ‘offline’ editors won’t be stuck w/low-res media anymore I think more final effects will done in the offline.
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3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
Computer monitors cannot properly display interlaced footage. If the source footage is interlaced and the final destination is interlaced don’t deinterlace it or mess w/the field order anything like that. You might make it look better on your computer monitor, but it will look horrible on a TV. Even hooking a TV up to your computer using your camera as the go between is better than nothing. If you need to make a version for the web then use Compressor to make a deinterlaced version for that.
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3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
A few weeks ago a series of ads on TV that were FHA instead of letterboxed. Oops. They’ve sense fixed them though.
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3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
Since you have AE I’d check out this very good tutorial for day for night at Videocopilot.net
https://www.videocopilot.net/tutorials/day_to_night_conversion/
A big thing w/day for night though is shooting w/the effect in mind because much of the ability to sell the effect comes from how it was shot.
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3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
Steven,
Provideocoalition has an interview w/Mark talking about their work flow:
https://provideocoalition.com/index.php/apple/story/reality_tv_post_with_final_cut/They also have an interview with Scott Templeton of Pie Town Productions talking about how they utilize FCP in a muli-editor, multi-show environment.
https://provideocoalition.com/index.php/apple/story/large_scale_final_cut_pro_installations_part_ii/-A
3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
Andy Mees wrote a plugin for this.
https://web.mac.com/andymees/Free_and_Easy/main/Entries/2008/3/19_Andy’s_Region_Blur_3.html
-Andrew
3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
If you aren’t looking at your footage on a calibrated broadcast monitor you don’t know what it looks like. You can’t get an accurate representation by looking at it on a computer monitor and you can’t get an accurate representation of it by looking at it inside FCP (which only shows a guesstimated gamma adjusted proxy image). If you compare the footage in QT Player to the footage in FCP it will look different, because QT Player and FCP don’t display w/the same way, unless you’ve gone into the QT preferences and checked the box that basically says “display the video the same way FCP does.” The Finder preview may or many not be effected by that check box, I don’t know. Currently Apple does not have a uniform way to display video across the entire platform but hopefully that changes w/the next big OS upgrade.
Also there is an h.264 bug in QT that will cause a gamma shift in the exported video. A work around can be found here:
https://provideocoalition.com/index.php/aadamsJust scroll down until you see “QuickTime Conundrum”.
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3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
Not to sound like a dick (don’t you love it when people start off w/that?) but did you read the whole article to understand why they chose to use the cameras they did? Horses for courses. If they were going to shoot some epic period piece in 2.35:1 I don’t think they’d use small HDV cameras. But for the style and aesthetic they want for Crank the smaller cameras fit the bill. And as others have said it’s not what gear you use it’s how you use it. A few years ago the movie November, which was shot on a DVX100, won Best Cinematography at Sundance.
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3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1)