Andrew Kimery
Forum Replies Created
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For the reality show I mentioned, which was of the follow-the-contestants-around variety, there were three AEs (two at night, and me during the day) plus 4 day editors, 1 night editor (although I neglected to mention him before) and 1 online editor once we got to that point in the game. It was an 9 episode show shot over 10 days generating about 2500hrs of footage (at it’s peak there were 24 cameras rolling w/9 of them rolling 24/7). Most of the footage was IMX but the 24/7 cameras recorded to DVCAM. On top of the 4 edit bays there was an “AE station” that was composed of, IIRC, 6 DVCAM decks, 6 Sony J-30 decks, and 6 Avid Adrenalines hooked up to a KVM switch so it could be controlled via one keyboard and mouse. Pretty much the first month of post was nothing but digitizing, organizing, and “grouping and stacking” (creating multicam clips of all the cameras).
Everything came in at low-rez (exactly what AVR I can’t remember) and we started w/a 4TB unity but had to expand up to 8 or 10 TB by the end of the show. We created one mother project (or AE project) that only the AEs used and all media was ingested into that project first and then copied into the appropriate project(s) for the editors (each editor was given a specific act to work on for each 60min episode). Nothing went into the Avids or came out of the Avids unless it went through an AE first. Footage, music, gfx, sound effects, everything has to go thru the AEs or else organization flies right out the window and the uprez becomes a nightmare.
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I don’t think anyone is coming down overly hard on the OP, but if you aren’t familiar w/how Reality TV works it’s not really something you can jump into a be proficient at mainly because of the large amount of work to be done in a small amount of time. I AE’d on a reality show that had two editors w/Reality backgrounds and two editors from doc backgrounds and the doc guys just couldn’t keep the required pace. They worked longer hours and produced fewer finished minutes than the editors w/reality experience (who typically had to pick up the slack to keep the show on schedule).
Eron, if your friend is okay w/hiring you fully aware of your lack of experience that’s great. But don’t deceive your friend to get a job you aren’t qualified for. You’ll just hamstring the production and most likely strain your relationship w/your friend.
As for wages, obviously it varies between shows, experience, etc., but many of the reality editors I know are in six figure territory annually. To the best of my knowledge none of them really like it, but it pays the bills.
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Command+Shift+A will also deselect anything in the timeline.
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[Martin Baker] “Color built into FCP would be a bad thing?”
I meant Color getting ignored, EOL’d, and stripped for a couple of parts. I’d rather see Color grow as a stand alone, powerful app then have it cannibalized to moderately improve FCP’s 3-way CC filter.
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[walter biscardi] “Yeah, speaking of which, whatever happened to “Phenomenon?” That was the code name for the Shake Replacement. Maybe those guys were re-assigned to the iPhone Apps store….. “
AFAIK Phenomenon was never more than a baseless rumor. Same w/FC Extreme (a rumor which was started by a Mac rumor/news site that also said the price of the Red One would be six figures). After Apple acquired Shake and found out how much it would take to keep it going I think they decided “not worth it” and are just going to keep adding Shake technology to their existing apps (like we’ve already seen happen w/Motion and FCP). Of course that makes me worry even more about the fate of Color…I’ll kindly poke Apple about the lack of updates to real apps, but I’m not going to knock them for “abandoning” applications that only existed in the mind of the Mac rumor mill.
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Try MJPEG A. Still big files but not as big as animation. If you select “best” in the quality slider you get 4:4:4 but if you select slightly less than best you get 4:2:2 (smaller files and faster exporting).
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I liked Bob’s style as well. It’s nice to have someone around who doesn’t wear kids gloves.
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Even though the final out put is SD DVD the difference between DV and DVCPro HD source material will be noticeable. Keeping everything a single format will also make the post workflow easier therefore saving time and money.
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[Shane Ross] ”
For the record, Panasonic never did HDV. They did DVCPRO HD. Sony and Canon’s HDV formats are the same, JVCs is VERY different, thus the reason why they have the most issues.
“Also, we can’t forget to mention that while Sony and Canon both went the HDV 1080i60 route Canon has it’s own proprietary tech to shoot at 24 frames per second (“24f” mode as opposed to the “24p”) which is incompatible w/Sony’s HDV gear, AFAIK.
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Glad you found the auto-save, but not having saved in the past 9 hours?!? Major no, no man. As Lars said, save early, save often, and if it’s not saved in two different places it’s not saved at all. I have my projects saved on my system drive but my auto-save vault (which I think is set to save every 10 or 15 min) saves to an external drive. That way if one drive has a complete failure I still have saves on another drive. I really, really don’t like repeating work so I’ve gotten in the habit of hitting Command+S (or Option+Command+S) every couple of minutes if not sooner.
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