Chaz Shukat
Forum Replies Created
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Yeah, I know Paul Morengo. I thought he left, maybe he came back? Anyway, it’s amazing that Randy is still there, that he hasn’t been fired or wanted to leave. I don’t know how he handles it. I don’t know if not having Eric there makes it better or worse since he still seems to be pretty hands on. He is undoubtedby a genious, but I also suspect he has A.D.D. (hence not watching more than the first 2 minutes). He’s the one guy I’ve encountered in my whole career that I just could not work with, and I’ve had some difficult producers that others couldn’t handle but I did. He’s a pipper alright. Do you think he’ll come back if the next prez is a dem?
Best,
Chaz S.
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I just checked out your website. Although I work in NYC now, I worked in LA from 1989-2004, and for several years at Termite Art before they became Creative Differences. My last project for them was in 2001. Eric Nelson had it in for me. My longest project there was Incredible Vacation Videos. Is Randy Boyd still there? If so, tell him Chaz says hi.
Chaz S.
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Shane,
That’s amazing. I kept waiting for the shoe to drop and……nope!
Usually someone along the chain feels compelled to stick to a “format” that restricts how long you can have a talking head on screen without b-roll, need it (or have any) or not. Just curious, how long was his longest uninterupted byte? BTW, how nausious would you have been if you had to ruin his bytes with b-roll?Chaz S.
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Sorry to hear about your splint. It’s scary to think how it could get so bad in the course of a week! I don’t know if it was the FLW Buffalo project that did you in but if it caused you such pain I guess we should all see what you paid such a high price to work on. What is the show about?
Chaz S.
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YEAH YAH!
That IS a good one! But that menu could get veeeerrrrrryyyyy long.Chaz S.
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Alright Zanone, now look what you’ve done. You started a avalanche of tips and tricks.
Here are a few of mine.
1. Let’s say you have 8 audio tracks in your timeline. You load a clip into your source monitor with 2 audio tracks, but you don’t want the 2 audio tracks to go onto tracks 1&2 of your timeline. You want them to go to any of the other 6 tracks you have. You could do the old drag to the desired track, or click on the source track and select which track you want to route it to. But why have to do anything when it can be done automatically? Go to your project window and select the settings tab. Then select Timeline, then the Edit tab, then select auto patching. Now all you have to do is click on the track you want the audio to go to and it automatically is patched to it.
YEAH BABY!2. And speaking of automatically, if you hold the Alt key down with Lift, Extract or Clipboard, it automatically loads that clip into your source monitor.
To save a lot of time spent duplicating settings for an effect, try these 2 tasty tricks.
1. After you have added an effect to a clip and have gone into effect mode to adjust the settings, let’s say you have added some keyframes and set one up to where you want it, then you want to make another keyframe have the exact same setup, instead of duplicating all the parameters again, just copy (alt C) the one you set up and paste (alt V) to the other one you haven’t.
2. Then if you think this is an effect that you will probably want to use again with the exact same settings, before you close out of effects mode, drag the effect icon, located in the upper right hand corner of the effect editor window, into a bin and label it so you know exactly what it is. Then next time you want that effect, just slap it on to a clip or transition on the timeline and, wa la, done! Next!
Chaz S.
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Actually I was referring to Grinner’s post but I guess I must have zigged when I should have zagged and it ended up under your post.
Chaz S.
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That explains a lot 😉
Chaz S.
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Dude, why are you asking us? If anyone, you should be asking your client how they would like it cut. Other than that, I say use your own creative judgement, stop trying to rip off other’s and have confidence in yourself. This is your chance to do it your way and put the Arnold imprint on it. But most importantly, as long as it’s interesting, enjoyable and holds your attention, it’s good. Try to enhance the performance and convey the emotion of the concert experience. I don’t know why this should be different than the ones you’ve cut before. I personally don’t like concerts to be cut with a music video pace imposed on it. The pace should be driven by the material, the music in this case. Make it organic and not forced.
That’s my 2cents.
Chaz S.
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[reel2reel] “Is something like “001” too simple if one has multiple projects on board, meaning, could it possible cause confusion with other 001’s on a drive?”
Having 2 different reel 001’s from different projects on the same drive will not confuse the Avid. Just make sure there is only one 001 in a single project. You don’t want to duplicate reel numbers within a project. However, it may be confusing to you to have multiple reels of the exact same identification. Obviously, the tapes themselves will or should have some additional identification besides a number, something that relates to the name of the project, so that you can tell one tape 001 from another. So you should duplicate that name or abbriviatite it in the reel number. As far as not being able to use dashes, you don’t need no stinking dashes. It’s just a waste of a keystroke. My only rule about tape numbers is that they must match the number on the tape so there’s no confusion. The other thing you definitely want to avoid is duplicate time code on a tape. That’s something that the Avid will not be able to figure out and will require your manaul supervision and make your life A LIVING HELL!!!!!!
Chaz S.