Chaz Shukat
Forum Replies Created
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[Simon Hustings] “Check out AJA’s data rate calculator: https://www.versiontracker.com/dyn/moreinfo/macosx/25717
I checked out the calculator but it doesn’t have ProRes422 to see how much storage space I would need if I converted my HDV to it.
Are your deliverables NTSC only? If so, why not shoot HDV 1080i 60. This way, your frame rate is already set up for NTSC delivery. If you want to stay in PAL land and shoot HDV 1080i 50 then you can do the standards conversion through Compressor, on the timeline in FCP or with a plugin Like Graeme Nattress’ Standards Converter for FCP. My suggestion would be the latter. Graeme’s converter does a great job, and from experience, takes a fraction of the time that Compressor would take, if you set Compressor to the highest settings.”
The tapes are already shot (in PAL). When you talk about converting to NTSC via these various methods, you are talking about the finished edit not the raw tapes, right? That was my plan.
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
Charlie, you are a genious! Why didn’t I think of that? Now go back to retirement and don’t come out again! 🙂
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
For me it depends on whether the spot is going to be “based” on the music or if the music is more or less just “background” music. If the music is what is going to set the “feel” or the style or the pace or the structure, you really have no choice but to edit to the music (and hopefully, the music won’t change). On the other hand, sometimes, like Murch, you can cut without music, get it to do what you need and feel like you want it to feel and then search for music that has that same feel and pace to fit. Sometimes, it will just fall in to place like you edited the picture to the music and it’s just amazing.
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
At the rate that credits go by these days, and the size of the credits, and the small portion of the screen they are relegated to, next to visually distracting images competing for the viewers eye, what are you really loosing? Nobody reads the credits except relatives and people in the biz and then they would have to be looking for your name to even have a chance of seeing it even subliminally.
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
The only time I think I’ve used multi-screens or PIP in a long-form piece is when I’d have more shots that I wanted or needed to show than I had time to show them all one at a time.
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
1. No difference, just different terminology.
2. Don’t make different cuts with different takes, just put all the takes into one stringout. The editor will use it to see all the footage without having to open each clip individually. He may even begin editing using the stringout.
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
First off, I would do the time warp first, then add the enlarge effect. If the time warp is just a constant speed faster or slower, try creating a motion effect rather than using the time warp. If the keyboard shortcut is not working for the nesting, then step into the effect the old fashioned way using the step-in/out buttons below the timeline. A third alternative is to add the second effect on a second video track if all else fails.
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
Well I don’t know how you would do this in FCP, but there is always more than one way to do something on the Avid. You have mentioned a few possibilities, but when it comes to moving around a big edited piece of the timeline, I just mark and in and an out point, select the tracks that I want to include in the move, and then, on a Mac I believe it would be Command(could be control or other)Extract or Lift (depending on if you want to leave a black hole to deal with later, or if you want the timeline to do a pull up so there is no hole). The Command key (or whichever it is) will automatically send the chunk you have cut out to the left monitor for you to put back into the timeline where you want it to go. If you need to do some other stuff before you put it back into the timeline, then before you extract or lift it out, subclip it to a bin where it will be safe until you are ready to put it back in. As for the sync, I always have my synclocks on. That’s just my personal preference to work that way. You may have to fix the music tracks at the cut points but everything should stay in sync.
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
[strypes] “i’ve been trying to find material/discussion on aesthetics but the lion’s share of it seems dedicated to technical skills in a software. If only there was more material-“
strypes, There is more material! Check out my e-book, EDITING REALITY. It was written to fill that need, and it’s geared toward reality TV & documentary rather than narrative film. See my ad under the Cow classified ads or visit my website. It’s only $5!
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com -
Click on the frame and press the L key for Play. You won’t see the picture moving but when you hit K or pause it will update to the current frame.
Chaz Shukat
Author of “EDITING REALITY”
http://www.chazmoedit.com