Andrew Kimery
Forum Replies Created
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I can’t write as, or good, post as Mark, but here are some of my 2 cents.
You don’t get what you deserve you get what you negotiate.
This industry is built on ‘maybe.’ Maybe if I do this guy a favor he’ll hook me up down the road. Maybe if I work for slave wages now the producer will bring me onto his bigger projects. Maybe…
If you want to move up you have to move out. Getting promoted from w/in, and at a competitive pay rate, can be very difficult so typically if you want to move up a rung on the ladder you need to move out of your current company.
The only person that really cares about your career is you. You have to always be pushing forward and working the system to get to where you want to be. I don’t mean screwing people over, I mean keeping your career goals in sight and always making decisions that move you towards them, not away from them. For example, when I first got out of college my goals were basically:
1. Find a job in the industry.
2. Find a job in post production.
3. Find a job as an assistant editor.
4. Find a job was an editor.Every job offer I get I ask myself, “does this keep me moving in the direction I want to move in?” And if the answer is “no” I pass on the job. And passing on paying work can be hard but sometimes it’s necessary. I’ve also had to quit jobs when promises of advancement weren’t followed through on. It can be scary, but like Mark said unless you are willing to walk away the higher ups will always walk all over your. Also, as quickly as you can you should squirrel away at least 6 months worth of living expenses (rent, internet, cell phone, insurance, car payment, etc.,) that you can use as a rainy day or bail-out-of-a-bad-gig fund.
If I was in your situation right now I’d be looking for another gig. Learn as much as you can at your current job and use that to get yourself your next gig.
-A
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Just to add to what’s already been said. What you see in the Viewer is the native file but what you see in the Canvas comes from the timeline. In your specific case the Viewer is showing a hi-res photo while the Canvas is showing a hi-res photo shrunk down to SD size and compressed w/the DV codec. Also, the Canvas doesn’t show images at full quality and needs to be set to 100% in order for both fields to be displayed (if it’s set to less than 100% only one field will be shown).
As Walter said though, to see what you really have you need to be looking at it on an external monitor.
-A
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1080i60 is 59.94 *fields* per second aka 29.97 *frames* per second while 720p60 is 59.94 *frames* per second. Why, when referring to 1080i, the industry started referring to the field rate and not the frame rate I have no idea but it can get freakin’ confusing.
-A
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I don’t have an Aluminum keyboard in front of me (thank god), but IIRC you have to go into the Keyboard preferences and check/uncheck a box relating to the “fn” key. By default the F4 key is the Dashboard hot key, and when you press “fn” + F4 the F4 key will act ‘normal’. The check box allows you to toggle between ‘fn+F4=normal F4 function” and “fn+F4= Dashboard hot key”.
I don’t think I explained that very well, but hopefully it’s good enough to help you out. 🙂
-Andrew
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IIRC full frame Photo-jpeg is not a ‘blessed’ codec in FCP so while you can use it you won’t get any RealTime performance so everything that doesn’t strictly match the sequence settings will have to be rendered.
-A
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Before people are going to want to form a partnership w/you (either sponsors or a site like IGN or GameTrailers) you are going to need to show how partnering w/you benefits them. You are probably going to have to go it alone for a little bit and generate some numbers before other parties will take interest in you. For example, Zero Punctuation firs appeared on YouTube before getting picked up by The Escapist, Monty Oum put up Haloid as a user movie on GameTrailers and was able to swing that into a job w/Midway, and Screw Attack built up an attractive following which is why GameTrailers was interested in partnering with them.
I’m not an expert by any means, but this is just my take on things based on observation.
Out of curiosity is your show targeted towards casual gamers who Wii-it-up every now and then or hardcore gamers that are aware of the different cyber-leagues/competitions?
-A
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Brendan,
I think this is just another example of a horses for courses thing as not everyone has the same needs, job responsibilities, etc.,.
[Brendan Coots] “I am of the opinion that any editor who doesn’t know what components go into an editing system, or can’t reliably turn on their own machine shouldn’t be in the industry. I don’t have half the experience that many here do, but from my observations half of an editor’s job (or any digital artist) is managing the tools that go into their work”
I know a number of editors who aren’t the most tech savvy individuals around, but they have no problems getting work because they have solid storytelling skills and the market they work in budgets for editors *and* support staff, not editors *as* support staff. There are market needs for specialists and there are market needs for generalists.“Great, provided they can do a better job/have more access than AppleCare can offer. Let’s remember these editing systems are Mac Pros with FCP pre-installed, speakers and monitors. The only things that COULD go wrong would be fully supported by Apple in those first 90 days even without AppleCare. “
If you are ordering a bare-bones box then I agree there’s not really a reason to go w/a VAR. But if you will be needing a more advanced system then Apple’s helpfulness will quickly come to a halt when you start asking about the non-Apple gear in your setup. For example, my current employer is putting together a finishing bay that will have an 8-core Mac Pro, 2×23″ ACD, 46″ client monitor, 24″ b’cast LCD, waveform rasterizer + 20″ LCD, Blackmagic Multibridge Eclipse, Tascam audio control surface, JL Cooper colorist panels, Wacom tablet, Genelec speakers, a third party ethernet card, and a fibre card to connect it to the xSan. This system is being built by our in house Production Technology guys, but if it wasn’t we’d sure as heck buy from a VAR cause that’s 7 or 8 different vender who are all going to point the finger at each other if it doesn’t all play right together.-A
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Since you’d like to match the colors in the video to the colors in the still images take a look at the Match Hue feature of the 3-way CC (pg 597 of the manual). Basically using this feature allows you to tell FCP, “Hey, I want the white dress in shot A to match the color of the white dress in shot B.” Now, it’s no magic bullet, but it will get you in the ball park so all you’ll have to do is some minor tweaking.
-A
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Is your computer going to sleep or is just your monitor going to sleep? What kind of monitor do you have? What video card do you have? Do you have any 3rd party RAM installed? Do you have any third party cards installed? When was the last time you dusted out the inside of your computer?
I ask because I’ve seen computers do strange things due to hardware either going bad or from excessive heat (which might only happen when your CPUs are really chugging away transcoding a file).
Going off of David’s suggestion though, if you have a spare driving floating around you could do a complete OS + Apps install on that drive, boot from it and see if Compressor still causes a problem. If not, then it problem solved, but if the computer still has a sleep issue then it’s most likely a hardware problem.
-A
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[Dylan Reeve] “Wow Andrew, that sounds incredible. I don’t think any of the shows I worked on generated more than 25 hours of footage a day. I kind of like the idea of planning setups like that, but the ‘nothing in or out except through an AE’ thing is great. It’s amazing how easy it is for a whole workflow to get messed up by careless ingest.
We used to edit all our shows at 15:1 offline in the Avid. Then I think moved to DV25 offline when the drive space became a little more plentiful.”
Yeah, it was pretty crazy w/all that footage. And Avid can only do (or at least at the time could only do) two banks of 9 cameras for multi cam and we had more than 18 cameras for most of the show so that just made the sucky job of ‘grouping and stacking’ twice as sucky. The organization thing is key and, like a diet, the hardest part is sticking to it especially when things get hairy and 5 different people all need something done ‘now.’ We kept full rez versions of all the gfx on the Unity so when we up-rez’ed we wouldn’t have to dig thru stacks of CDs/DVDs to find stuff but, of course, some stuff came up as located on “Bob’s Thumbdrive” or something and all of a sudden the wheels on the up-rez bus start to come loose. It was a nice feeling though being an AE and getting to firmly, but politely, tell the exec prod he cannot, under any circumstances, give any assets to the editor’s he *must* give them to an AE and we’ll properly do the labeling, ingesting, and let the editor’s know where to find the asset.
-Andrew