[Chris Bové]

[fourlegz] “curious about your mounting method becuase my boards will be traveling”

Get a 3-ring binder and fill it with plastic page protectors. Post-its stick and unstick nicely to them, and you can fit a bunch on each. Each topic or scene can be separated with a solid piece of paper. Get back to the edit bay and stick the whole page protector folder in-sequence on the wall.

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\`(=)`/…Pixel Monkey
`(___)

A picture says 1000 words. Editors give them meaning.

[Chris Bové]

[fourlegz] “How detailed do all of you get with these hundreds of post- its?”

There’s a really great chapter in [ https://www.amazon.com/exec/obidos/tg/detail/-/0735714266?v=glance ] that goes into detail on this. Even if you don’t buy the book, look for this chapter while at your local Barns’n Noble.

For my own work, one documentary post-it might look like this:

(from top to bottom)
– Topic of Discussion / Interviewee
– 5 words describing what she says

This is all I’ll put on it until we steer the story about 90% onto its final path. Then, we get more detailed:

(each sound byte is split up into multiple post-its – by sentence)
– Topic of discussion / Interviewee
– 5 words to describe her current sentence

Color coding is key at this point – each interviewee gets her own color. This way you can stand back 10 feet and realize “Wow there’s a lot of Judy (green) in this section, let’s break her up with some Brian (orange)”.

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/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

A picture says 1000 words. Editors give them meaning.

[Chris Bové]

[Mark Suszko] “I like a wide piece of wall and several colors worth of post-it notes.”

Yep – It’s funny how universal this technique is. Even the most production-unsaavy person can walk into the edit bay and understand how the storyline is forming. In addition, I try to have a couple stacks of 4×6 index cards ready for if the Producer wants to take chunks of the “Post-It timeline” home. Keeping them in order, they stick B-Roll Post-Its onto white cards and A-roll ones onto their color(s) of choice. This keeps them from sticking to each other, and provides surface area for them to make notes without messing up my Post-Its.

(And for the power-geeks out there, there’s nothing cooler than punching a hole in each card’s top left corner, putting them on a metal ring and wearing your script on your belt like Snyder from One Day at a Time …did I say that out loud?)

Scripts change way too much and too quickly, making chasing them with software too clunky for my taste, unless an Asst Editor or two are available. Breaking the script down into these “stickable clips” on the wall will work most efficiently for me… until a piece of software comes out that can make on-screen Stickies that be moved around and interact like the effects chain interface on an Avid D|S system, AND be emailed to the Producer for review and changes.

My best-case process (if afforded the time):
– Rename all tapes with 2 letters (the project’s name) and 3 numbers starting at 001 (like FL213), and keep a sheet going that compares new “edit names” with whatever stupid crap they were called in the field. This numeric sequencing is applied to non-tape media too. (And never EVER name a tape or a clip “Guy in a blue shirt saying stuff”.)
– Digitize whole tapes – using an assistant editor if one is available (I’m comfy with not watching it all come in).
– Put B-roll clips into their own bins, then subclips each shot and color code them (same colors as Post-Its).
– Print out each bin of A-Roll (list view) and file them all into a 3-ring binder.
– Print out each bin of B-Roll (Script view – with subclips and comments) and file them all into a 3-ring binder.
– Edit, edit, edit, change, change, start over, edit, make the trailer, cut out an hour, redo the trailer, Host a Dog and Pony Show, edit, edit, done! Whoops, add a new underwriter, fix that misspelled credit, edit, edit, done!
– Archive the project, delete media, upgrade the Avid software, redo all my settings, drink beer, change some diapers, sleep.

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/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

Just finished editing “Frank Lloyd Wright’s Buffalo” – see it on PBS & PBS-HD Sept 4, 2006 at 10pm (check local listings!).

Yes, that is Labor Day.

[Chris Bové]

[Chaz Shukat] “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?”

Thanks for asking – please check out the program’s website:
https://www.wned.org/productions/flwb/default.asp

and the production website:
https://www.wned.org/productions/flwb/production.asp

This was one of those extremely, extrEMEly rare opportunities where the producer and I were given total control of the story, and a decent amount of cash to throw at it. Naturally in that case, we went all-out with what we thought was the highest level of artistic and technical quality. It was a joy to work on – minus the numb fingers and wrist stings.

Let me know what you think!

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/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

Just finished editing “Frank Lloyd Wright’s Buffalo” – see it on PBS & PBS-HD Sept 4, 2006 at 10pm (check local listings!).

Yes, that is Labor Day.

[Chris Bové]

Thanks all – I’ll try the Kensington, definitely.

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/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

Just finished editing “Frank Lloyd Wright’s Buffalo” – see it on PBS & PBS-HD Sept 4, 2006 at 10pm (check local listings!).

Yes, that is Labor Day.

[Chris Bové]

Doc:

https://www.amazon.com/-Cutting-Edge-Magic-/dp/B0009PVZEG/sr=8-4/qid=1156881186/ref=pd_bbs_4/002-1181347-0997633?ie=UTF8

Book:

https://www.amazon.com/Behind-Seen-How-Walter/dp/0735714266/sr=8-3/qid=1156881186/ref=pd_bbs_3/002-1181347-0997633?ie=UTF8

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/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

Just finished editing “Frank Lloyd Wright’s Buffalo” – see it on PBS & PBS-HD Sept 4, 2006 at 10pm (check local listings!).

Yes, that is Labor Day.

[Chris Bové]

[walter biscardi] “TNT has the worst HD image with our service. Looks marginally better than their SD feed.”

…And it’s not just the service, nor the equipment used to send the HD signal. It goes back to the same phenomenon we’re experiencing with some of the content on other HD channels: placement of SD shows in broadcast schedules until there’s enough HD programming to fill the 24 hour period. In a purely technical sense, you can broadcast VHS footage you recorded back in 1984 on an HD signal, and it can be thus classified as HD. I’m actually amazed more indie films and docs shot on 35mm haven’t been converted to HD and submitted to PBS and TNT. They’ve been thirsty for content, as evident by their schedule filled with constant repeats.

Also, the re-editing of programs created before the HD revolution is just not really happening like a lot of people expected… for a lot of the same reasons Hendrix hasn’t put out any new albums in recent years.

Funny thing is, these recent decades were spent capturing images with video, more so than with film like before. Thus, documentaries that are made 50 years from now on subject matter from the 1980’s and 1990’s will look worse than ones made about the 1960’s. (!!!)

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/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

Just finished editing “Frank Lloyd Wright’s Buffalo” – see it on PBS Sept 4, 2006 at 10pm.
(Yes, that is Labor Day)

[Chris Bové]

Not sure of your intent with the footage, but…

Public event = OK. Private or paid event = problematic. Usage plays a big part. Remember, exploitation = litigation.

side note:
“That Camel had it coming I tells ya….”
– What’s that from?

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/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

Just finished editing “Frank Lloyd Wright’s Buffalo” – see it on PBS Sept 4, 2006 at 10pm.
(Yes, that is Labor Day)

[Chris Bové]

The following thread was on the COW’s Audio Professionals forum:

https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=30&postid=855815

Hope it helps.

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/-o-o-\
\`(=)`/…Pixel Monkey
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Just finished editing “Frank Lloyd Wright’s Buffalo” – see it on PBS Sept 4, 2006 at 10pm.
(Yes, that is Labor Day)

[Chris Bové]

Yep, here’s my result:

Use Start/Windows Administrative Tools/Disk Management to format ieee drive of any size into partitions using FAT32 formatting (32gigs maximum for each partition). Just tested it and drag/drop works fine with both platforms. When partitioning, any partition larger than 32 gigs is only allowed NTFS formatting, which is visible but not writable by Macs.

Thanks for the help!

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/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

Just finished editing “Frank Lloyd Wright’s Buffalo” – see it on PBS Sept 4, 2006 at 10pm.
(Yes, that is Labor Day)