[Chris Bové]

[antelope] “Which is the most appropriate for someone starting out and which is more likely to lead to work opportunities?”

Both. Equal. Independent films, broadcast, corporate, you name it. It’s pretty even for beginners and ameteurs. A lot of places are even starting to put both onto the same machine. So seriously, test ’em both and decide on one to start.

Ford or Chevy. Who cares. (Subaru is better anyway.)

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[Chris Bové]

[grinner] “Ladders are climbed by taking steps and reaching higher.”

… but who cares how high anyone climbs their ladder if “up” is the wrong direction? The previous owner of your ladder could’ve spun the “Z” perspective 108

[Chris Bové]

I love Love LOVE Moving Picture. Bill Ferster who wrote the software also does all the tech support, and he’s just great.

Trouble with a plug-in that’s so perfectly simple is when you want it to behave just a little too perfectly. Unfortunately, the interaction between Moving Picture and the Avid interface you’re asking is just a little bit beyond its capabilities. But here’s the best fix I’ve found thus far:
– when using two Moving Picture slips in a row, always stagger them on separate video tracks
– always place the Moving Picture you’re dissolving FROM on top
– always make the dissolve ENDING at cut – you’ll need to drag the out point over the 2nd clip to cover the duration (unfortunalely, you may need to redo your keyframes)
– pay close attention to Moving Picture’s selectors: “No Slows”, “Slow-In”, etc. because Moving Picture does NOT recall the info from that clip, but from the LAST clip you happened to have worked on.
– its keyframes aren’t as elegant as Avid’s… ctrl-a/ctrl-c/ctrl-v doesn’t work as cleanly as you may like

I’ve used Moving Picture in nearly everything I’ve cut in the past 4 years. I’ve seen compatability problems with Pan & Scan between different Avid models, so this has been the savior of a number of our shows.

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[Chris Bové]

Michael

This is some great detail – excellent! I’m gonna save your post for future reference.

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[Chris Bové]

Try it. What’s the worst that can happen? One won’t melt the other, right?

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[Chris Bové]

Both 24p and 23.976 are SD, not HD. 720p is HDV.

Roughly put, 23.976 is 24p drop-frame. It’s used a lot for miniDV broadcast stuff. Even if footage is shot 24p or 24pA, I’m told by the brains-in-jars over in Avid Tech Support land to use 23.976 (with pulldown for both on v2.1.5 and above Adrenaline) for anything broadcast. They then go on to say the Adrenaline’s 24p is more for film.

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[Chris Bové]

I suppose porn is outta the question? (kidding)

Not sure about rights etc, but editing ANY Charlestown Chiefs stuff into a bunch of quick little clips is always a favorite. That and the Mackenzie brothers. As far as “Noise Meters – How Loud Can You Go” stuff, just have fun with it. I’d go with retro-Atari lookin’ stuff! Hee hee… shoot miniDV footage of your TV while playing SEGA Genesis Hockey.

When the NHL strike started, the cable carrier here in Buffalo actually got away with airing the video feed from two guys playing SEGA Genesis NHL’97 on a “regularly scheduled” game night. No lie – the public LOVED it.

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[Chris Bové]

[Shane Ross] “MAYA renders much faster on a PC”

… REALLY! That’s a surprise – I figured the opposite… what with Pixar being Steve Jobs turf ‘n all.

On the Incredibles DVD and the Monsters Inc DVD, I’ve seen the “Editorial Dept.” using Avids instead of FCP too. What’s that about?

Anyone know what Pixar’s primary character design and animation programs are?

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[Chris Bové]

Darn good question, more so now than even ten years ago.

My brain wants to spew tons of responses, but I think they’ll all dance around the same thing: In the editing/animation arm of the industry, it’s all about the work vs. the environment. Look at the folks at Pixar, shuttling to meetings in shorts, iPods and on push-scooters. But, I guarantee they all have 3-4 suits and a tux in their office closets. You gotta sport top threads at award shows.

Then look at ad agencies. A suit means loot and that’s it. Maybe chinos and a golf shirt. Not too many places tolerate much else.

In fact, that’s probably the whole key to how a person looks – how much they can get away with. Me? I’m usually in jeans, and since my job description says “… 80% editing, 15% graphics creation and 5% DUTIES AS ASSIGNED.”. As long as I’m seen carrying a screwdriver once in a while, they look the other way. (And no, I don’t mean a vodka/orange juice.) But I throw on a sportcoat every now and then for those throw-off-the-boss James Bond moments.

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[Chris Bové]

What kind of media composer? Adrenaline? 9000 Meridian?

I just brought 24p from an XL2 via firewire – works great. Audio, video, timecode, tape control… all through that teenie little copper.

Gollygeewillickers, we’ve come a long way from using casette tapes to store your Texas Instruments TI994A data. Remember those?

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