Andrew Kimery
Forum Replies Created
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I don’t think it’s aimed at news exactly. It sounds like a way to keep track of all your digital assets from a single app using meta data. Kinda like how iTunes keeps track of all your music and gives you a nice GUI to use to find it all instead of pecking around in Finder.
The company I currently work for generates about 1 terebyte of media a week (everything from DVCPro HD to DV to still images) and right now we are using a folder based organizational system on an xSan for all 14 of the editors. If FC server works like I think it will we won’t have to drill down thru multiple folders looking for assets. We’ll just do a search for what we are looking in FC server then drag the asset(s) into FCP. A common “gray area” problem we have right now is if we shoot person X at event Y do we file the footage away by event or by content? W/FC server it won’t matter because once the asset is in the system (w/appropirate keywords and other meta data) we can look it up just like you can look up a piece of physical media in an app like PilotWare. I’ve worked on reality shows where something like this could come in very handy as well.
Also as tapeless acquisition and digital slating moves forward the need for cataloging physical media will disappear and we’ll have to keep track of image files and QTs instead of tapes and CDs.
-Andrew
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Isn’t that more of a director, producer, or client call?
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AFAIK you can’t get frame accurate via firewire.
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NICK B brings up a good point that I see often from others in regards to rates. For example, charging $50/hr but giving the client a 20% discount is better than charing $40/hr. Saying the the discount is a limited time thing is easier than trying to raise your rate after 1 or 2 projects.
-A
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Roles can vary a bit depending on what kind of place you are working at and how big it is. But here is my experience from working in LA.
Post production assistants are typically go-fers/runners. If the printer runs out of ink you send the Post PA to Staples to get some more. If a cut of the show needs to be dropped off at the producer’s house away the Post PA goes.
Assistant editors are responsible for all of the nuts & bolts things that have to happen to in regards to supporting the editors. Organization is the number one thing. AEs will create and execute the organizational game plan for post. They will create the projects for the editors as well as keep the Unity organized. There is digitizing (unless you are on a big enough show that they hire people to do nothing but digitize), importing all other assets and updating the editors projects so the newest media is always in their projects. No piece of media will get to the editors w/o going thru the Assistants first. AEs will also create OMFs, up-rez the offline edit in preparation for the online editor, make strings-outs, and out put rough cuts. They are also responsible for knowing how to maintain and trouble shoot the Avids, including the Unity, as well as knowing how to operate and hook up typical post hardware like decks, monitors, scopes, and mixing boards. Pretty much AEs do everything in regards to the editorial process except the actual editing.
If editors were race car drivers, AEs would be race car mechanics.
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I’ve never had a problem using “48” to capture “32” and I get 32k tapes across my desk more often than I’d like. To play it safe you could capture in 20min chunks to help avoid the possibility of audio drift.
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What format is your timeline in (DV, HDV, Uncompressed NTSC, etc.,)? First trying rendering as Chris said but if the rendered image still looks sub-par it’s probably because whatever codec your timeline is set to. DV, for example, really beats up gfx and text especially.
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What codec are you editing in in FCP? If it’s DV then your resolution is 720×480 (regardless of what res your source material is at) and DV compression isn’t very nice to text.
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What codec are you editing in in FCP? If it’s DV then your resolution is 720×480 (regardless of what res your source material is at) and DV compression isn’t very nice to text.
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“On “Magnificent Ambersons” he tried to pre-record and edit the entire movie in ADR sessions, THEN have actors lip synch it on the set. His technology was unable to make this work well enough and it was abandoned. Today, the tech is certainly there.”
It doesn’t sound like it would be much different than singers lip synching in music videos.
-A