Andrew Rendell
Forum Replies Created
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I went for the 550d and I’m very pleased with it. The Magic Lantern software makes it an even better video tool than the standard spec. Low light performance is very good. I only use autofocus to find focus when framing a shot and I’d never have it on during a take and the Canon is fine for that. Canon also have a software utility that’s very handy if you’re going to cut in FCP, plus there’s a technicolor plug in for colour profile. So I’d recommend the Canon…
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Accorsding to the standard terms on my youtube account:
7.2 You retain all of your ownership rights in your Content, but you are required to grant limited licence rights to YouTube
I used some youtube clips in a tv programme last year and we got permission from the originators, not youtube. There are situations where using youtube clips might legally come under “fair use” and most news coverage would come into that category (so they technically don’t need to clear it at all, they’d just be getting permission from youtube to include their logo). Entertainment programmes probably wouldn’t, documentaries might depending on how the material was used.
Copyright law, although simple enough in concept, can be quite complicated in practice. Don’t rely on what someone says on the internet unless you know they’ve got some legal credibility… (especially me)
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I don’t really have any preferences atm, but either of those should do the job.
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As no one else has pitched in yet, I’ll say that I’m not absolutely certain about your particular kit but as a general point, if the tape and the computer aren’t locked together somehow there is quite likely to be some drift over time which will show up as a loss of sync, as you seem to be getting. Using a good quality reference signal for both the VHS and Blackmagic card is very likely to improve the situation…
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Not necessarily – not dealing with the clicks that come from cutting where the audio waveform isn’t on a zero would be “amateur” and sometimes just chucking on a 1 frame dissolve is a quick and easy way of dealing with the issue when you’re on a deadline. But whether it’s appropriate kind of depends on what the job is.
When the programme is going to a full sound dub the editor doesn’t have to worry (because the dubbing mixer will deal with it), but I do a reasonable amount of editing that gets shown in some way without having a sound dub, e.g., web stuff where there’s no room in the budget for a separate sound dub, so I do it all in the edit.
(I don’t do that much of this these days but when I was cutting sports we’d sometimes get quite tight – closest I ever got was finishing the cut 25 seconds before it went on air and when you’re in that situation you don’t have time to do a beautiful sound mix.)
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I can’t think of any tutorials/videos specifically on this, but I’m sure it must be covered somewhere.
The issue of clicks when cutting sound away from a zero crossing point came up in my technical training back in the day, and using fast dissolves was something I picked up from a couple of editors when I was an assistant.
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The only thing I’d add to Shane’s post is that Sony also have a driver/utility for you to read their SxS cards in your Expresscard34 slot.
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I usually find that a very short dissolve centred on the vision cut works best. A 1 frame dissolve is useful for de-clicking (as having cutting points based on video frames means that you haven’t got the option to cut sound on zero crossing points), but quite often 2 or 4 frames are a bit smoother.
It sometimes helps to keyframe the audio track (rubber banding) to drop the background noise level by a few decibels on the end of the outgoing speech before the dissolve and/or doing the same to the start of the incoming piece to drop the background noise a little and bring the track up just as the speech starts.
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It’s the kind of thing that’s usually done in AE. I wouldn’t attempt to do it in FCP, but I reckon that you’d be able to do it in Motion.
[With lots of pictures I’d plan the layers out on paper before getting stuck in and I’d work out the numerical values for size and position rather than moving pictures into position by eye. Just my personal way of working when I’ve got lots of layers that need to line up.]
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Or select all your clips on the timeline and press {Control} and {full stop} together.