Chaz Shukat
Forum Replies Created
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Simply click on the keyframe triangle icon so that it turns pink, letting you know it’s active, and then hit delete. You can also shift-click on multiple keyframes and then hit delete. Also, did you know that you can click on a keyframe, hit copy and then paste that keyframe’s attributes to another keyframe? Also, did you know that one keyframe provides 100% of the daily requirements of 7 essential vitamins and minerals? 😉
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I’m glad you got your clips back on-line. I’m not sure why your new clips are now offline. Try re-linking them or trashing the databases again. Are you sure you had audio/video input coming in when you were digitizing the new clips? And no, I don’t believe that re-constructing the media databases can harm the program.
Chaz
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Yes, by all means, trash your media databases. Maybe they are currupt. If that doesn’t work, just batch re-digitize them if there’s not a huge amount.
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Is it just this clip, this bin, or this project, or is it everything?
If it’s just a small bit of media, you may want to just re-digitize.
Are you sure you have the drive(s) mounted? Are they showing on your desktop?Chaz S.
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If you are just going to be doing home movies and you have a Mac, why get FCP? That’s a totally professional package. You should have iMovie bundled in with your Mac software. Have you tried that? It’s made for home movies and you should already have it. Costs zero. Sorry if this is too simple an answer and does not address your conversion/export issues.
Chaz S.
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Kevin,
Although we all appreciate your trying to help, keep in mind this is the Calf, Avid BASICS, so you need to offer more for an answer than just another question. And also assume that the questioner doesn’t know much about Avid and needs a detailed answer.For instance:
Have you tried relinking the clips. Highlight the clips that are offline and then go to relink under the Bin Menu at the top of the screen. Select what drives you want the computer to search through. You might find that the drive you put them on is not listed. If so, check to see if that drive is mounted and on-line. That may be your problem right there.
Chaz S.
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I’ve written a book entitled “EDITING REALITY”, designed to serve as a mentor to new editors, assistant editors, editing students, etc., with an emphasis on editing reality/documentary. I thank those of you (you know who you are) who took the time to respond to my 10 question survey. Your comments are included in the book.
Now that it’s done, if anyone has any suggestions about publishing or self publishing, marketing, etc.
As for personal mentoring, I seldom have the opportunity to interact with an assistant that much (it would be great if I did) but I certainly answer any questions put to me. I really love answering questions because I remember how many questions I have asked of editors and still do of editors and assistants for that matter (regarding tech stuff). I find that almost all editors as a group are really nice people and have been most gracious in answering questions and helping me. Editors should get training on the job, not have to shell out major bucks for classes, right guys? You are never to old to learn new tricks and often us older guys can learn some new tricks from the younger guys. It works both ways. A free flow of ideas, give and take. That preserves the perfect balance of the universe and promotes growth and evolution. (Whoa, did I say that?)
Chaz S.
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Shane,
Great story, man! And well told. My hats off to you because I did a similar Hollywood route but had my wife with me (not out of town) and didn’t have 3 kids to support. I know it was not an easy road (loved the Judge Judy line, as painful as it was for you to live through). Anyway, I totally agree with you about the mentoring.Best
Chaz S.
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Shane,
Where do you work that you off-line (with 3-6 other editors) yet go to the on-line color correction and the audio sweetening sessions? I often work on a series with other editors, but I never go to audio or online sessions, even if I am the sole editor on the show.I also like to watch my shows air. Not only to see my name, which these days is only on for a nanosecond, but to see how it came out after onlining and audio sweetening. I’ve had a couple of unpleasant surprises when watching shows air due to changes or mistakes made in online. But the one that really made fire shoot out of my ears was on a show called “Behind Bars”. It was a reality show that used re-enactments. I was one of the re-enactment editors. I cut a sequence that was one of those “giddy” moments that I live for. It not only made the hair on the back of my neck stand up, but it made me yell out loud, “Yeah!” That’s when you know you’ve really hit paydirt! It was a sequence where I drew out a suspenseful moment in which a woman who has just been raped tries to shoot the rapist but finally can’t bring herself to pull the trigger. They took this re-enactment and edited it into the show with the interview with the real rapist. But the way they did it, they tell that she didn’t shoot him before we see it, thereby removing all that glorious tension and suspense. If I’d had a gun, I think I would have pulled the trigger on that producer. But I realized that suspense is not what many reality shows are about, they just tell facts (booorrrriiiinnnngggg!) So I’m moving into narrative.
Bottom line is guys, you have to have emotion in your show in order to have those giddy moments. Flashy trash won’t do it. And I feel sorry for you guys who have to edit with a client breathing down your neck. Thank God I don’t.
Chaz S.
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Anyone see that Brazilian movie City of God? The first time feature editor won an Oscar? I thought he did a fantasitc job, especially on the opening montage. What do you think?
Chaz S.