Bouncing Account needs new email address
Forum Replies Created
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[JamieWorsfold]
After 10 years of working with edit suites, I had discovered that you can have different lengths of dissolves….
I’m not telling you about HOW to dissolve, I’m saying that the “fade-to-black” I use in spots is not “slow” and time-consuming… its a fast lap.
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There are long-slow-fades. Nobody is advocating use of that in a commercial.
And there are, say, 5-8 frame “laps” (soft-cuts).
I bring most of my spots up at 6 frames at the head and down by 6 frames at the end.
And on a broader note:
I’ve been tagging national spots for years.
They always have a quick lap to black (5-15 frames) at the end.
When we used to do this “manually”, it could drive you crazy trying to drop YOUR CG info at the same time as their video faded.Many stations “convenience production” these tags and, without the aid of a computer editor (yes, some basic “convenience production” production is still done “live-to-tape” (usually by the same crew who stays late for the newscasts), it can be ugly.
On the other hand, I have never heard of a 10-sec FREEZE (past the listed time) at the end of, well, anything.
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[Bret Williams] “A fade up or a fade to black? Never. That’s just a waste of the time you bought. Commercials usually cut in and cut out. You bought the time. Might as well use it.”
Are you serious?
You don’t fade to black?
Wow.
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[Chuck Reti] “”Back in the day…” a 5 or even 10 sec preroll was not uncommon, what with those coal-fired machines needing some lockup time. Not a problem now, of course. A reason for a 15 or 30 sec long slate, usually a fullscreen billboard with the actual countdown from 10, was to assist the operators who had to cue up spots on tape. The longer slate was helpful when fast forwarding and rewinding as it provided a short few seconds of readable information as it zipped by.”
Not quite.
I was an editor of 2″ Quad videotape even before the days of Ampex “Editec”.
A) I didn’t say there was no need for a 10-sec pre-roll countdown/slate (we used 7-sec lock-up pre-roll). I said there was no need for a 30-second pre-roll slate.
B) In the days before 1″ and 3/4″ tape, there was no way to SEE ANYTHING as it “zipped by”.
The only clue you had was listening to the audio during FF and RW.THIS is why I can’t see why anyone EVER needed a 30-secound COUNTDOWN on a COMMERCIAL, even back in the day on “ancient” commercials.
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That 10-sec freeze-frame seems just too ODD for me. (Are you SURE?)
I can see many times where that would simply not be appropriate.
In the US, 30-second spots have :29 sec (or so) audio length a 30-second video with a fade up from BLACK before it and a fade to BLACK right after it.
Its traditional for the operator (at the station) to take care of any “technical difficulties” on the station’s part (like not having the next spot ready) not by “sitting on a freeze of the previous commercial, but by either sitting in BLACK or putting up a station promo/ID/technical difficulties slide or still-store.
With the digital on-air spotg playback systems, having that freeze at the end would be useless, as the system would not store it anyway, as spots are only recorded (and played) to the length specified.
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[JamieWorsfold] “10 sec still at the end etc.”
Nothing like this in the USA.
Do you mean a 10 sec. FREEZE-FRAME of the last shot, or 10 sec. of BLACK following the spot? (The latter might be useful, the former, not so much.
I also understand that there’s a tradition of a 30-second COUNTDOWN before the spot.
I can’t understand why a COMMERCIAL would need a 30 SECOND PRE-ROLL… EVER!
A program that was rolling down a network feed might use a long countdown, but WHO would CUE at TV spot 30 seconds before the first audio/video?
OK,I’m done. 😉
As Dave said, just ask someone where the spot will be played, as our opinions don’t count. -
[JamieWorsfold] “10 sec still at the end etc”
Nothing like this in the USA.
Do you mean a 10 sec. FREEZE-FRAME of the last shot, or 10 sec. of BLACK following the spot? (The latter might be useful, the former, not so much.
I also understand that there’s a tradition of a 30-second COUNTDOWN before the spot.
I can’t understand why a COMMERCIAL would need a 30 SECOND PRE-ROLL… EVER!
A program that was rolling down a network feed might use a long countdown, but WHO would CUE at TV spot 30 seconds before the first audio/video?
OK,I’m done.
Now, I hope someone else can actually HELP you 😉 -
If the shot with the light in it is a lock-down…
Don’t do the “zoom-in” at all.
Remove any re-positioning or size-changes on it, then
export a frame of the shot with the light in it.Import that frame into Photoshop.
“Clone” out the light in the freeze and create a soft alpha-channel only in the area you “fixed” (so the rest of this freeze image is transparent).Import that “cleaned up” frame back into FCP and matte it over the problem shot on a video track above.
The area you “cleaned” will covver the light.
Render and output.
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Try looking here:
https://docs.info.apple.com/article.html?artnum=301852
This seems to be the answer to many of these kind of problems.
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[Mike Most] “In your case, the production was shot on video, so no pulldown occurs in the picture. Therefore, the sound needs to be mirrored exactly as shot, with no pulldown.”
Bingo!
“Real-time” transfer to CD.