Andrew Rendell
Forum Replies Created
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+1 to Tom’s answer. I usually find that a one frame dissolve is enough to deal with the pop, although a slightly longer one usually sounds better at the end of a clip (but that’s a taste thing rather than a technical one).
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In a way, what you need depends on what you need! A place I used to work at had 2 very experienced guys, 2 “improvers” and one junior (not exactly a trainee, but first editing job). That worked pretty well, but you have to be a certain size before it’s worth employing that many. Young and keen is good as long as there’s someone experienced around, but don’t forget that a few of us are still young and keen in attitude even after 20 years of cutting…
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If the shape is reasonably simple you could animate a mask using the eight point garbage matte (put one shot on video layer 1 and the other shot on video layer 2 for the duration of the effect and keyframe the points). Sort of like Avid’s animatte, a bit, …ish. But it would be better to do it in Motion.
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DV25 probably means DV-PAL as the 25 is most likely to mean 25fps. Mixing terminology like that can be terribly confusing as a number like that following the codec can often refer to the data rate rather than the frame rate, but as you don’t get variable data rates with DV, I think it must mean the frame rate.
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Well, what you describe is the way I do it, except that if I’m marking the points to move a section I go straight to cutting with the razor blade tool rather than doing in and out points first. I always use the keyboard shortcuts to select between cursor modes (A for selection tool, B for blade, etc) and I actually find it quite quick and easy.
But then after doing it a million times I suppose I would though. -
I can’t see anything that’s going to be a problem there (Picture format in Compressor offers you PAL/NTSC, rather than 4:2:0/anything else, but don’t worry about it – MPEG2 is 4:2:0 by default unless you dig in on another page and change it). I do agree with your reservation about field dominance – leaving it in auto SHOULD be fine, but I’ve had Compressor make dodgy MPEGs so I prefer to always specify.
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It has been covered a few times, yeah. Basically, go for the best you can afford, every little bit helps especially for HD. As you say “I will be mostly cutting on the laptop” I’d strongly recommend the 17″ (biggest available) screen as anything smaller will do your eyes in eventually, and you get the Expresscard slot as well (which is still really useful). Fastest drive and connection you can lay your hands on (FW800 good, esata better).
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FCP always seems to have several ways of doing things, as long as you can find them. This is a thing I do quite often: Where I’ve got a series of clips that are basically similar (say, a commentary track) adjust one clip – level, eq, compression (whatever is needed) – then copy that clip, highlight all the similar clips and Paste Attributes to put the same level, etc, onto those clips as well. Hope that helps (I dare say others have their own favourite ways of doing things as well).
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I used to use a Vistek “Varicomb” decoder for that. It’s been a while since I’ve seen one though (so long that I seem to remember that the box gave us analogue YUV and making that SDI was another step, or we would go straight into a Degibeta deck’s analogue component inputs). Google “comb filter decoder” and you might strike lucky.
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No two broadcasters have exactly the same requirements for delivery, but as you mention UK, both the BBC and Channel 4 have their specs on their web sites [they both follow ITU-R for the PAL system so the basics are the same].
https://www.bbc.co.uk/guidelines/dq/pdf/tv/tv_standards_london.pdf
https://www.channel4.com/corporate/4producers/resources/documents/FullTechnicalRequirements.pdf