Chris Bové
Forum Replies Created
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Shouldn’t be anything to do with v2.1.8. I’ve been batch importing and batch digitizing in it for a week now with no complaints.
Is the batch-imported/digitized media on the top layer rendered before you batch it in? If so, you’ll need to relay it in like you said, or just slip the clip (trim mode – alt/reverse dragging over the clip) one frame to the left or right. Then, redo the Expert Render. It’s there, you just can’t see it because the old rendered media is trumping it.
AVID Pipe dream #476:
I wish the coding Gods at AVID would create a website in which you can post your hopes, wishes and dream-fixes.
– I’d love to see batch imports trump the old rendered media.
– I’d love to be able to have control of a deck in capture mode and set locators at certain points, THEN digitize and walk away – so when I come back the locators are alrerady in place.
– I’d love to copy non-square images from Photoshop and paste them in the Title Tool (like you used to be able to do with the AVBV systems).
– I hate frigging purple. Why purple? Best damn edit system out there and they pick purple. Select in/out on the timeline and it’s purple. Yuk. I’d rather select in/out and have it be ANYTHING else but purple. How about a brighter, more saturated version of the colors you alrerady selected for the timeline, huh? No. Purple. God damn Tinky Winky and his frigging purse.______
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\`(=)`/…Pixel Monkey
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DV… grrrr…
There’s a lotta bad and a lotta good. Since you’re looking for bad, I’ll give you the biggest 3 I’ve found:
1. (and this is direct from SONY and Panasonic’s mouths) “DV – especially miniDV – is a less stable format than say DVC Pro or Betacam.” While yes, the firewire in is a great thing, expect to see some slippage in the deck (or camera) upon any batch digitizing… anywhere from 1-6 frames off. This proves VERY annoying in a online setting. Having to go in and slip/slide every single cut is a pain. However if you plan on capturing at online quality, this will not be an issue for you.
2. Don’t expect to be able to increase the scale of the footage too much passed 100%. DV isn’t all that pretty – especially in low light – and grain can become unbearable during color correction. I have been able to get away with up to 130% in exterrior (high light) shots.
3. Digital audio on DV cameras is very tricky. When in the field, audio folks have to deal with really REALLY touchy meters. Expect audio levels to be either overmodulated or way too low. The smarter audio folks are splitting the mic to 2 channels – they perform similar level adjustments on both Ch.1 and Ch.2, but always keep Ch.2 about 4db lower in case of overmodulating.
Good Luck!
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\`(=)`/…Pixel Monkey
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Yo!
Be careful – you should NOT (never ever never) use a 24p or 23.976 project if you shot in 24pA. Only if shot in regular 24p. People told me this, but I didn’t believe them until I frigged it up myself.
24pA converts the 24p footage to 30i inside the camera (pulldown). Thus when any footage shot in 24pA comes out of the camera, it should from then on be considered 30i.
If you try to edit 24pA in a 23.976 project, you’ll see jerky interpolation (especially on moving shots) because the system is trying to undo the pulldown that the camera did for you.
I know this cuz I just finished a 23.976 project that originally had true 24p footage… but then the DP accidentally shot 24pA. There was NO fix. Media, sequences, titles, NOTHING from a 23.976 project is usable in a 30i project. I would have had to print out an EDL and start from scratch.
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\`(=)`/…Pixel Monkey
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You know, every time I do it one way, the Director turns out to be the kinda Joe that prefers it the other. Every time.
Anyway, if I’m presented with performances that vary drastically between takes, I create performance reels (half-assed dailies) with back-to-back takes and hand them off to the director. Usually a take never works all the way through, but at least you can get a better idea of what impresses the director (one might gravitate to facial expressions before noticing audio problems, where another might be paying a little too close attention to the audio script).
If time, budget or fate doesn’t allow me that much attention to detail, I ALWAYS start by cutting the perfect “radio show”. Usually when investors are involved, producers will initially need to show them drafts that match the script as best as possible, and then worry about which actor gets more face-time later.
For more in-depth answers, go to one of my favorite cheat sources… https://www.filmsound.org/murch/murch.htm
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\`(=)`/…Pixel Monkey
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Less and less need for travel as an editor these days. With media transfer capabilities offered by LiveCargo.com and YouSendIt.com, I get cross-country indie work and barely ever meet the director face-2-face. Only real problem is to get the client comfortable with the process.
Here’s what I did to sell myself better:
– bought an edit system (low-end, just for cuts & dissolves… a few effects)
– got tied in (big discount) with a local facility to online at
– got tied in with a local DVD Authoring guy & a separate high-end graphics guy (we send work each other’s way)
– set up a separate email account – any free one (Yahoo?) with separate folders (for separate companies or producers)
– $19.95/mo for LiveCargo.comLast project I worked on (13 minute 24p indie short) had about 300 emails over a 3 month period. Saved on long distance/cell minutes, and have a paper trail for any of his comments/changes.
Had to travel for:
– initial consult
– a “lets put our heads together” final draft screening day
– release partyHell, I even know an editor who hotwired his Mac’s webcam to display the output of the video card. Realtime screening sessions on AOL-IM!!! Whoever can figure that one out for me on a Windows system will be coined “Genious of the Month”!
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\`(=)`/…Pixel Monkey
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Just finished editing a nightmarish project on Avid Adrenaline HD – footage was shot in 24p, 24pA and 30i. Edited it in a 23.975 project – that was a mistake. I was told everything was going to be 24p. Aah well…
Make sure you edit it in a 30i project – this way pulldowns from 24p will match if you find out the DP forgot to check what mode the rented camera was in on Tuesday. “…But it was fine on Monday…” – grrrrrr.
Need more advice? goto https://www.24p.com/reference.htm.
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\`(=)`/…Pixel Monkey
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Will do… and I dig the DEVO reference.
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\`(=)`/…Pixel Monkey
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Problem solved. The footage was shot randomly at 24p, 24pA, and 30i. Looks like the DP forgot to check every time the camera was powered up.
I wonder if I create a 30i project and recreate the edits… we’ll see.
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\`(=)`/…Pixel Monkey
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[mpe] “Regarding the ‘jerkiness’ make sure you have the pulldown frame set to A.
Also, what version of Adrenaline do you have?
Are all clips have a starting TC ending with 0 or 5?”* Pulldown frame set to A – alright, I’ll make sure.
* Adrenaline v2.1.5
* Starting TC ending with 0 or 5? – …huh?______
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\`(=)`/…Pixel Monkey
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Yeah, definitely try the paint effect. It’s become a really powerful tool.
Similar case – I had a silhouette in front of a door which I:
– lightened tremendously with color correction
– drew around the subject and filled it in with 75% opaque black (feathered)
– I used keyframes throughout the shot to do a garbage-traveling-matte grainy-coverer-upperIt looked only so-so, but the producer saw it as a better option that reshooting. So, I guess it depends on the client. Dreamworks vs. Bob’s Wedding Hut.
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\`(=)`/…Pixel Monkey
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