Andrew Rendell
Forum Replies Created
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Bill makes a valid point if you’re delivering in SD. However, over the last year or so, almost everything I’ve been doing has switched to delivery on HD, so I doubt that’ll be an option for very much longer (the equivalent for a significantly bigger image size than HD would be 4k, and that’s a serious step up in technology/operating costs at the moment).
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Yes, it happens quite a lot, even though watching the cut you generally aren’t aware that that’s what was done. The key thing is for someone to make notes during the main interview so that you can feed the lines to the interviewer when doing the reverses. For quite a few of the ones I’ve had the subject has actually hung around for the reverses, which is good because that makes keeping the eyeline right a lot easier plus you can get the occasional bit of interaction that helps make the cut feel “real” (and some contributors actually enjoy being involved in the “crafty film making” process).
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It’s worth getting hold of the technical requirements for a representative broadcaster who might take the programme. A couple of UK broadcasters are currently giving minimum specs of 50Mbps or better for origination and an approved motion predictive standards conversion for anything coming from a different frame rate than 25fps.
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I agree that a decent de-esser will give a better result than an eq, the best result I’ve achieved was with an external (hardware) compressor with a de-esser in it, but I’ve never had much luck getting a decent result out of the software one that comes in FCP (which could of course be me not having the knack of setting it properly, make what you will from that).
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I work AT facilities quite often, but very rarely FOR a facility, I’m usually employed by a production company. On the occasions that I’m employed by a facility it’s usually in a “we need another pair of hands in a hurry” kind of situation, production companies are more “we need someone with these particular skills for the duration of this project”, so I usually get to feel more of a member of the team at a production company than at a facility.
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I’ve found that it’ll quite often work with a sort of middle-ish setting if you can nail the frequency. TBH, if you’ve got too much sibilance in the recording you’ll never get it sounding perfect but with practice you can get a decent strike rate for changing a track from unusable to acceptable, depends on how bad your recording is though.
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I’m actually cutting with AMA (as Khoren describes). It’s the 2nd job that I’ve done this way and no problems yet…
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Could be wrong (I’m on a different release of Avid) but I think you will have to Import the files before Media Tool will recognise them.
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I’ve had reasonable results using a parametric eq. The trick is to get the frequency right, so start by turning the gain up (not down!) and slowly adjust the freq until you bring out the offending area, then you can take the gain right down.
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I became an editor by being trained to do it at the BBC (in London, UK); expanded my experience by leaving the BBC and joining an independent facility company as a staff editor; left that job to become freelance.