Andrew Rendell
Forum Replies Created
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I wonder if the winner will turn out to be the one with the most “friends”.
Anyway, had a look, made a comment and given you a vote, partly because you asked but mainly because it’s great to see a nice clean installation, so many are messy and don’t have enough clear desk space for your paperwork.
Good luck
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I think your assessment of one mic sounding fuller than the other is probably due to different frequency responses rather than levels. The difference between 90% and 100% in recording level really is very little, so I’m not surprised that it sounds the same.
As someone who sometimes fixes things in post, my opinion is that adding 6 to 10dB of gain and doing a little eq to match mics isn’t “fixing” something, that’s just regular post production.
But if you’ve got levels that are way out, you need to work through your recording chain carefully to find where the problem is.
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I usually just export the sequence onto my desktop and use the “OneStep DVD from movie…” option in iDVD to make a DVD.
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My reseller of choice for Avid is Root6, but that’s because I’ve known a chap there called John Harris for years….
Mention my name if you use them, it probably won’t make much difference though. 😉
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Sadly, the answer is no it shouldn’t take that long to make a wmv but it does. If you’ve got access to a windows PC it’s a lot faster to make a quicktime on the mac then take that to the PC and convert it to wmv there.
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Just thinking out loud here, but if you go to https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
then follow the link to the 550D hack and see how that’s done, you might be able to do the same kind of hack for the 600D.
I’ve done it for the 550D (and it works fine) but I haven’t touched a 600D yet, so I can’t advise you to mess with your gear in this way unless you are comfortable with the process.
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If it’s going to be seen on a computer you get the whole picture so there’s no need to worry about the safe area. Ordinary TVs routinely lose a bit of picture around the edge, which is why we have safe areas, and why broadcasters insist on being very “safe”, so that they can be totally sure that everyone will see the text. These days most TVs don’t lose much picture around the edges, so if I were you I wouldn’t disregard the safe areas (as you want to be able to see it on a TV) but I’d be prepared to go to the outer line (safe action) for this particular purpose.
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I remember when I turned 40 and people said that work would dry up as people wanted “young” and “fresh” and “new”. That was 8 years ago and I’m as busy as ever. The industry has always gone through cycles, so I wouldn’t say that the current downturn is necessarily a long tern trend. In fact it’s been recovering a little in the UK over the last few months, so hang on in there wherever you are in the world, that may well happen in your territory as well.
I’ve come to thinking that what people want when they employ you is someone they can trust to (a) take responsibility for stuff, (b) bring it in on time and on budget, and (c) make them look good. So the craft, storytelling, etc, is very important but it’s only part of the whole package.
I reckon that this IS a good industry to be in for me, but it depends on your personality and aspirations. I’ve never expected it to make me rich, but I get a lot of satisfaction my job, I have a nice house, my kids are in a good school and I enjoy my life. It took a long slog to get there, I was skint through my 20’s, working long hours for low pay, but it’s worked out for me so far.
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All valid points, Bill. I just come to the issues from a different point of view.
My employment as a freelance editor is predominantly for broadcast, plus web deliverables which are associated with those broadcast programmes, and in general I’m employed for those things that I do which are web only because of my track record in broadcast.
I always get hold of the technical specs for delivery, and one must read through them very carefully, whatever the destination.
Simply because I’ve delivered to them recently, I have the current technical specs for Discovery, the BBC and Channel 4 close at hand, but to be honest they don’t give you a lot of room to maneuvre. My rule of thumb for reframing pictures is that I’ll get away with about 10 or 15% expansion, depending on the pictures (and you have to make a subjective decision on a shot by shot basis), which is generally enough to fix a problem but not enough to make an MCU into a CU. More than that and you’re risking a technical fail when it gets to the broadcaster.
Things for web delivery are, of course, a different kettle of fish. So yes, you should bring up all of these useful techniques an a teaching situation, but I personally wouldn’t make the assumption that todays students will necessarily spend their working lives making stuff for the web, even though that is likely to be a very signficant source of work.
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One thought, I don’t know the A1, but the Z1 has a menu switch to downconvert from HDV to DV on the firewire link – that would cause a mis-match that would stop the digitising from working properly. Does the A1 have a similar facility? If so, that’s something to check.