Charles House
Forum Replies Created
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Yes, I’ve read and understand the work flow, thank you. At least to the degree that that article can assist. That doesn’t address any of my questions. The error message, the locked files, the computer crashing (it appears that my computer has now had most of it’s right allocations locked from this experience, I have to take it in to have it formatted and the OS installed tomorrow, Apple Care says it’s likely to be from the camera resetting things). These kind of responses are what I have seem in most threats about this problem or similar ones, and I appreciate you responding, but it doesn’t help the issue, which is fairly unique and, as far as I’ve seen as per related threads, yet to be resolved.
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I spoke with the client and they said they’d take 24fps. The only setting as such in FCP is 24p (23.976). I still get an interlaced frame every so often and it’s making me crazy. Everything was shot in 24p and edited in the same setting in a 24fps timeline.
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I’m not sure how it’s condescending. It’s the truth. I’m making $125 off each video, and they’re several hours away, which generally takes about a tank of gas.
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It is perfectly fine in other editing software, such as Premiere. Why do you feel it necessary to post in my threads if you feel this way? Just walk away like an adult. I don’t go out of my way to go places where people I don’t agree with or take a liking to gather.
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I appreciate your input. As for you personal suggestion, this is a video company, they have hundreds of clients, some one-time guys, sometimes frequent customers. Either way, I get a little over $100 to go in, shoot a little bit of stuff, edit it together and turn it back in. It’s hardly worth my consideration to talk to each customer about what they want, and add to that, most of these customers won’t KNOW what they want, as they’re just cafe owners and dental hygienists who want a YouTube ad, and no matter what they want, the company wants the same thing for all the videos: 30p final output.
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I’m not pushing anything down anyone’s throat or being a rebel. There sure is a lot of condescension here.
They want the FINAL OUTPUT FILE to be 30p. They also told me, in the same breath, “24p looks so much better, 24p looks great, a lot of out shooters shoot 24p because it looks better.” But they are receiving 30p FILES. No matter what the person is shooting at, the final output is 30p. And they’re saying they prefer the LOOK of 24p. So, I’d like to appease them, if possible. Mind you, these are also audio guys, not video guys, or they’d be shooting their own stuff.
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So you mean if I start with a 29.97 timeline, 24p will import into that, no problems? That’s good to know, thank you. And I don’t mean to bite off any heads, I just think David is a bit of putz. We’ve had works prior and he seems to still like to interject.
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29.97. That’s what I’m talking about. As I’ve already expressed. I don’t know why they don’t want 24p, but they don’t. They want 30p. And that’s what I’ll give them.
My issue with David is his vehement attitude towards the preference for 24p. He’s expressed it before, along with other similar, snide attitudes about 24p and the process of shooting with it, and I don’t agree with him. It clearly looks better, and anyone but an untrained monkey or perhaps a very bitter old videographer would agree.
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The issue with shooting 30p is, this is my first job with this client. It looks like dogshit, as most shooters regard 30p native for looking, and I won’t be hired again, in favor of guys shooting 24p to 30p timelines.
You really like to feel like you’re right about things, don’t you David? Please, do me a big favor, as I asked in my previous posts: if I’ve posted a topic, just stay out of it. We don’t get along, I don’t agree with you, ever, and I strongly dislike your attitude. Much appreciated.
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Online streaming.
Dave, we really don’t, and probably won’t ever see, eye to eye.