Andrew Kimery
Forum Replies Created
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As Charlie said, there are a number of unknowns right now. Until you start getting things in the can and seeing if all the elements (talent, script, crew, etc.,) are “playing nice” together you just have no idea how thing are gonna go. I haven’t worked on a feature length narrative before, but I’ve worked on shorts that ranged from “easiest edit ever” where the scenes fit together like lego blocks and followed the script perfectly to “nightmare edits” where the final cut that didn’t resemble the shooting script in the least bit.
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Graeme,
So would you suggest still “finishing” in an uncompressed timeline, but checking it in a DV timeline or just staying in a DV timeline altogether?
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“But…I do want to note that I saw NO artifacting, NO weird blurring during fast movement (Moving objects like speeding cars, my girls on skates) and fast whips and pans. THAT really impressed me.”
Wow, that is impressive to hear since one of the main complaints of HDV is it’s handling of fast moving images.
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At least in Barry Green’s opinion the vertical resolution hit for using 24f (about 15%) isn’t that big a deal in real world usage.
From Barry’s XHA1 v. HVX200 comparison over at DVXuser.com
https://www.dvxuser.com/articles/xha1/“This subject has caused much to been written about, discussed, argued about, holy wars instituted over, etc. Here we have a case of
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ISO is short for “isolation.” For example, ISO 1 would be footage from camera 1.
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I’ve never cut a game show (only AE’d a bit on one), but IIRC the SOP was to use the line cut as much as possible and only go to an ISO as needed. So, if the director did a good job the editing should be pretty quick and painless. Also, staying on the Line Cut as much as possible makes it easier to go to online ’cause there is less tape loading going on.
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mikegn,
Thanks. Back when I started shadowing the AE’s at a place I used to work out I very quickly realized that the editing knowledge I had on FCP and Avid was very applicable to AE duties. And when I AE’d my first reality TV show. Wow. Talk about stuff they don’t teach you in school.
Peterd,
You seem to be stuck in the catch-22 of being too good at what you do. This is kinda what I was talking about w/the “move out to move up” comment. When people get used to you doing job X it’s sometimes hard for them to let you do job Y ’cause then they have to find a new person to do job X. When you are talking about jobs do you mean like staff jobs at a post house or short term, freelance gigs (like on a TV show or something)? Getting a digitizing job is how most people get their foot in the doors as AEs. While tapes are rolling you can take that 30min or 60min and follow the AE’s around.Knowing how to wire equipment up is very useful as an AE. Not only does it help w/trouble shooting, but on more than one occasion I’ve had to pretty much rewire bays if a deck has gone bad or there is only 1 Digi (for example) and we now need it in Bay 3 instead of Bay 6. I was a deck monkey before getting AE gigs and I put that knowledge to use on a regular basis as an AE. Producers will love you when you can get a bay up and running instead of having hours of down time waiting for the rental house to send a tech over to fix it.
Unfortunately I’m in LA and don’t have any NYC contacts so my help is limited to advice here on the Cow.
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I’ll toss in my 2 cents as well.
As others have said building relationships is the only way to get consistent work. You can land the odd job from on-line postings, but word of mouth will get people calling you instead of you having to call them. Take people out to lunch/dinner/drinks (editors or AEs you work with, alumni, friends of friends who work in post, etc.,) and pick their brains. Ask them how they got to where they are and get across your desire, knowledge, and enthusiasm. Also, make sure you stay in contact with people (a simple “Hey, what’s up?” e-mail every few months goes a long way). And, at least in LA, the best way to move up is to move out. By that I mean if you’re working at Company A as a Tape Op and want to move up to AE you’ll have a better chance of moving up by taking an AE position at Company B instead of trying to get promoted at Company A.
Get a job, any job, at a post house that has an online/offline workflow (not all do) and shadow the AEs (even if this means staying late on your own time). Knowing FCP/Avid in terms of editing and knowing them in terms of AEing are two very different things. It’s pretty much the difference between being a race car driver and a race car mechanic.
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I’m assuming he’s referring to the HVR-1500. It’s basically an HDV version of the DSR-1500.
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John,
I used the 8-bit uncompressed codec and the PCs don’t have any capture cards installed. Could the codec come as part of QT or Sorenson Squeeze?-A