Andrew Kimery
Forum Replies Created
-
Do you have an I/O card installed (like a Kona or Blackmagic)? Are you trying to capture HDV as ProRes via FW? I work w/multiple FCP machines (all 6.0.4) and the only ones that have ProRes presets are the ones with I/O cards installed. All the others just have a single ProRes preset called HDV-Apple ProRes 422 1080p24. AFAIK if you want to capture HDV as ProRes via FW you have to make a custom setting. This article from KenStone.com should help.
https://www.kenstone.net/fcp_homepage/capture_hdv_prores_fw_balis.html
-A
-
When I’ve encountered problems like this (clip plays back fine unless you do something that requires a render then the clip plays back at the wrong point in time) it’s been due to corrupt media. You can try the export/re-import idea that was mentioned above, but if that doesn’t work you should try re-capturing the problem clip.
-A
-
I use the Sennheiser HD 280 Pros and like them very much. They block out external noise better than most standard over-the-ear headphones (which means you can keep them at a lower volume) and, to me, they sounded better than the Sony 7506’s when I tested them side by side. I wore them 40hrs a week for over a year and they were pretty comfy (they are a little tight right out of the box but that goes away). You could also look at some of the noise canceling headphones as well, but they give me vertigo so I can’t use them.
When I was looking for cans I took a CD of the type of audio I normally work with to a local music store and demo’d 5 or 6 headphones in the store.
-A
-
[Chris Pilkington]
“RAID ARRAY:users:directorsname:movies:idents”Am i right in assuming that the media fcp was searching for was located on the directors computer and not on the hard drive with all the other media and project files?”
That’s where the media was last time FCP launched. You need to manually reconnect the files (after you reconnect one all others in the same file path should reconnect automatically).[Chris Pilkington] “secondly, if i am receiving the media after being ingested and made ready for fcp do i need to install the sxs driver? “
IIRC, no. The proper codec to playback EX footage came as part of a FCP update. You only need the Sony xfer software and driver if you are getting files directly from the camera (as opposed to files already re-wrapped for FCP).-A
-
Don’t have anything in your FCP Browser, but have the Browser selected as the active window, then go File->Media Manager and you’ll MM the entire project as opposed to just a specific timeline. De-select the “delete unused media…” option and you should be good to go. If you have the drive space I’d definitely perform a “copy” instead of a “move” so that if something hangs up during the MM you won’t lose any data.
-A
-
FOX is transitioning over to FCP as well. Alien vs Predator: Requiem and Max Payne were cut w/FCP. GameTrailersTV (shameless plug), a weekly show on SpikeTV, is cut w/FCP (and now is getting graded using Color) and there is also Pie Town productions here in LA that does about 600 episodes of realty TV a year on FCP.
As it’s been previously stated, the differences between Avid and FCP are either personal preference or specific situations where one suite might have an advantage over the other. General speaking though both products are mature enough that neither should ‘get in the way’ of the editor.
-A
-
Get an entry level job at a local post and go from there. Come in early, go home late and hang out in the editing bays as much as you can (as long as it doesn’t interfere w/your job duties of course). As Stephen said, post graduate work is really only worthwhile if you plan to teach. Diplomas don’t carry very much weight in this line of work.
-A
-
A textless master is one that has little or no graphic elements so that it can easily be re-purposed for international/multi-lingual use. For example, if someone in France wanted to air your piece you’d send them a textless master so that they could do all the titles, lower thirds, etc., in French.
-A
-
I’ve noticed similar things too Scott. I’ve also noticed PAs being assigned “higher level” tasks that typically a vault manager or assistant editor would be in charge of. Things like asset management sound mundane but are vital to a well functioning, efficiently run facility. I understand the economy is in the tank and budgets are tight but the old adage of being penny wise, pound foolish still holds true.
-A
-
Trailer Park
https://www.trailerpark.com/Aspect Ratio
https://www.aspectratio.com/These are a couple of places I know if in LA that do trailers. Like TJ said, it’s difficult to just get work cold and it’s even more difficult if you aren’t local. There is an absolute glut of people in LA and NY so it’s unusual for companies to need to go out of state to hire people. Unless you have a mega-kick@ss, top shelf reel that is exactly what a company is looking for I wouldn’t count on lining up a job prior to moving. I have one friend who moved out to LA w/a gig lined up, but he had a contact at the company, years of experience doing exactly what the company was looking for, A-list talent/brands on his reel and he is dead quick cutting spots.
I know some talented editors that moved to LA from other places (even good sized markets like Atlanta) and they had to spend a year or so building up their ‘LA reel’ before they started gaining traction here.
-A