Chaz Shukat
Forum Replies Created
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Yes Charlie, but that was more than 10 years ago. I suspect you weren’t working for $1.35/hr. 10 years ago.
Chaz S.
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Can you see video in the preview monitor at all but it just won’t play? If so, make sure that you don’t have any other window open in the bin monitor that is touching the composer window.
Chaz S.
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Hi Mike,
I have had this experience also on my Xpress Pro. Have you tried clicking on Save Current (settings) under the toolset menu? First set the monitors up the way you want them and then click that. It should save that set up so that every time you open the project or even return from a different toolset, it should be the same as when you left it.Hope that helps.
Chaz S.
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As someone who is also new to narrative editing with multiple takes of the same action from multiple angles, yes, it’s a lot different than the usuall predicament you and I and Charlie find ourselves in having not enough options, and it can be a little overwhelming. Try visualizing the scene in your head as you would ideally see it cut, and then try to make that happen with what you’ve got. See if it plays that way. If not, determine which cuts/shots are not working for you and replace them. Maybe you might want to start from scratch and take an entirely different approach to the scene. You can cut a scene many different ways and they will each come across a little different. Remeber to not get too caught up with matching action and always use the best performance if at all possible. Bottom line, there is no formula. If there was, then it could be an entirely automated process. It would be interesting to program a computer with a formula and see how it cuts scenes. Wouldn’t that be wild?
Chaz S.
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What I was really asking was does anyone actively seek jobs from out of town employers, as in responding to job ads in other cities.
Chaz S.
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I do both. First, I cut the audio to my liking as best as I can get it, then I put in cutaways where I can sneak in different audio if necessary. If that doesn’t make it to my satisfaction, as a last resort I’ll try to do an audio overdub over the take that I like visually, but lip sync is a tricky proposition to pull off for more than a few words. But to answer your original question as to which to do first, I try to cut for the best dialogue first. But that’s just me, it’s a free country ya know? Bottom line is that there are many variables that you have to take into consideration that are particular to each instance. Is the actor more expressive verbally or visually? You always want to be true to the emotion of the moment. Whichever is more in line with that (dialogue or visual), go with that and then try to adjust the other as necessary. You should be able to feel it when it’s really working right. Until it feels good, keep adjusting it. If you try everything possible and it still doesn’t feel right, move on and come back to it later or the next day with fresh eyes and ears, and maybe bring in someone for a second opinion. If all that doesn’t lead to a satisfactory resolution, and it almost certainly must, than you must have the biggest &#!@ing piece of $h-t scene with the worst f*@&ing actors. So go tell your producer to get some real !@#$ing actors to work with instead of brain dead tree stump wannabees! (Ooppss, sorry, did I say that out loud?)
Chaz S.
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Turner is a good place to get into. I’d do a full court press on them.
Starting a an assistant editor or is a good possible route. When I was an editor working on 3/4″ U-Matic tape (back in the stone age)and wanted to move up to the on-line post houses that used 1″ tape, I took a step back to assistant editor in order to break in. I hated it and was not a great assistant, but after a year and a half I got my break and became the night editor.
And I got that 3/4″ editor job by joining the company as a cameraman, and in order to get a job as a camerman (having been primarily an editor before then) I borrowed someone’s video gear and produced, shot and edited my own little make believe commercial so I had something to show that I could shoot. It worked! So maybe you need to shoot and edit something above and beyond what you have so far to show what you can do and then shop it around.
I don’t know if this is the case in Atlanta, but in LA & NY there are always people looking for people to work for free to get the opportunity to put something different or better on their reel.
That’s all I’ve got, I’m tapped. Now get out there and do it for the Gipper!
Chaz S.
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[person] “leave the editing to the editors. i view designers much the same way i would view a colorist, flame artist, sound designer, etc. there is a very good reason why designers design and editors edit.”
First to Tom I would like to say that I admire your attitude. But you seem to enjoy the design aspect. Did you start doing it because you were interested in it or because you felt like you needed to? And Tom, animation is another creative art, are you going to become an animator as well? Sound designer? Colorist? Sure we all do those things now to at a certain off-line level, but don’t we need specialists anymore? Where are we headed on this slippery slope? What will be the future for these creative groups? I for one would like to see them kept separate. But the software trend is toward making things more geared for low cost one man band operations. Does anyone have a crystal ball out there?
Chaz S.
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[Tom Meegan] “When I preview a bad cut, I know it’s bad, I know why it is bad”
I’m with Charlie. It’s a matter of feel. Is it more than a feeling for you? How do you know it’s bad and what’s wrong with it?
As for design, I have to revert to my feelings when I see something, utilizing my subconscious rememberences of every design layout that has ever passed in front of my eyeballs. Without formal training in design, what else have you got to go on except self tutorial like Bob suggested. Too bad we have to concern ourselves with this as editors. What will become of all the graphic designers? Will they start doing editing as well?
Chaz S.
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Speaking of demo reels. I’ve got a very clever, unique open on my reel, but unfortunately, a lot of the shots look pretty crappy because they originated from VHS dubs of the projects I’ve edited. If you own your own company, as it seems many of you Cows do, you are able to get a dub of your projects in any format you need for inclusion on your reel. What if you are freelancing for other companies at their facilities, how do you get a high quality dub for your reel? Most of the time I’m lucky to get a VHS if I can get a dub at all because they don’t want to be letting out broadcastable or bootlegable copies,especially before airing. Occasionally, I’ve had to resort to taping my show off the air. Anyone else in this situation? Any suggestions?
Chaz S.