Chris Bové
Forum Replies Created
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1.) Google search “walter murch transitions”
2.) subscribe to the American Cinema Editors mag – https://www.ace-filmeditors.org/newace/mag_Main.html
3.) read EVERYTHING EVERYONE HAS EVER WRITTEN in this forum!!!
(except my posts – I make this $^!+ up as I go)
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\`(=)`/…Pixel Monkey
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If you think the dolly will end up to be too slow, and thus reveal the trick, here’s a down-and-dirty cheat:
1.) Shoot the scenes
2.) take a digital photo of the object you want to use as your wipe coverer (no flash – use lighting from the shoot)
3.) in photoshop, magnify and use the eraser tool to turn it into a matte (use a 1-2 lixel soft edge)
4.) import it into the NLE and move it from RT to LT covering a wipe from one scene to the nextYeah, it’s yucky, but they used it in all Ben Affleck’s action movies, so IT’S GOTTA BE GOOD! …?
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\`(=)`/…Pixel Monkey
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We’re looking at a monitor from a UK company called FrontNICHE (23″ LCD display). The tech specs sound nice, but I’ve never heard of the company… and their website looks straight outta 1987!
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\`(=)`/…Pixel Monkey
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The show was shot on one of the first Panasonic HD DVC Pro’s ever made. For some reason, there’s always a bit of a green cast (but at least it’s consistent). The footage is in a historic Frank Lloyd Wright house, and has lots of contrasts – dark rooms with bright beams of light. It’s great stuff.
My concerns:
– I’ve color corrected dozens of shows on our Avids, but it’s all been guesswork. True, you don’t need a diploma to say “Chickens aren’t blue!”, but, you get the point.
– Each of our Avids has a different brand of client monitor, and each was set up by a different engineer. For all I know, chickens are blue!
– I’d like to establish a relationship with a post house that has a DiVinci or other comparable system – just for the coolness of it, I guess.
– I can do a decent enough job of “correcting” the footage, but once the producer starts asking for intentionally different looks between scenes and locations, I’m back to hunt-and-peck guesswork.This is the age where most home improvements have become Home Depot do-it-yourself jobs. That just means that there’ll be less and less houses labeled “Historic Site” in 100 years. Some things need to be left to the pros.
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\`(=)`/…Pixel Monkey
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[Charlie King] “I have never been 100% happy with any project I ever did.”
The few who have been 100% happy with their work are usually the self-appointed Producer/Director/Editor/Sound Designer/Grip/Caterer/Desktop Foley/Assistant Hairdresser to the Stunt Coordinator/Rendering Supervisor/Publicist/Web Designer/Lava Lamp Repair Specialist/Gaffer and Sheep Wrangler…
…and who’thahell wants to watch that short student film???
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\`(=)`/…Pixel Monkey
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Google search this:
“walter murch transitions”Read everything you find. It’s a great start. There’a also a fabulous, stupendous, awesome article on transitions in the spring/summer ACE magazine… again by Murch. (https://www.ace-filmeditors.org/newace/mag_Main.html)
Everything else your asking needs to be discovered by actively mingling your style with others. Go to NAB. Join a local user’s group or film club. Watch movies with the sound off. Drink lots of Yuengling and watch The Corsican Brothers backwards.
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\`(=)`/…Pixel Monkey
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We have the exact same problem with our Media Composer 9000 on Win2000. We just deal with the fact that we have to start it up twice to three times each morning… kinda like our old production van.
Just guessing here (because I’m a conspiracy theorist, and our chief engineer thinks I’m crazy) but I believe it’s due to our media drives and their cables having just passed the 5-yesr old mark. Perhaps the CPU can’t ID everything before startup?
I dunno. That’s what the Magic 8-ball is for.
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\`(=)`/…Pixel Monkey
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– Haven’t fully tested # of layers yet. Frankly, the thing renders so fast, I currently care less.
– HDV is a heaping pupu platter, anyway. It’s like driving a Ferrari with four spare “donut” tires. Shame on SONY for creating the format.
– Overall experience: not as bad as some led me to believe. It’s jumpy and spaztic at times, but everything I wand to get out of it… I do.What I like:
– a not-so-bad interface for HD. Right now, we’re using DVCProHD which is at about 100-110, so the 145MXF handles it just fine. No need to use 220 (8-bit) or 220X (10-bit) with DVCProHD. That would be like setting a glass of wine into a 5-gal bucket and telling your client they bought 5 gallons of wine.
– It doesn’t cost as much as a DS NitrisWhat I don’t like:
– At v2.1.5, it’s still a baby chicken in an incubator. Lotsa hang-ups, video card flubs, trouble with live plugging in/out of USB and Firewire devices, occasional diarrhea with 3rd party programs, …
– My Meridian Media Composer 9000 from 1999 runs better.
– So did my old Mazda 2200______
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\`(=)`/…Pixel Monkey
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[andy garcia] “the little bug on Adrenaline called added frame”
Never heard of it.
I do know that if you set an in-point, then want to set an out point 60 seconds later, you type +59.29, not +60:00. That’s not an Adrenaline-specific error, that’s basic timecode math. It’s like playing hide and seek as a child. When counting to ten, did you start with the number one or with zero? Technically (as per a stopwatch), one needs to start with zero. Maybe that’s why I was always found?
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\`(=)`/…Pixel Monkey
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Try and remember why you got into the industry. Rediscover the magic and find a way to pop it as a pill. Then patent it, cuz we’ll buy it!
Take naps. Make love often. Vavation in the woods (no pixels).
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\`(=)`/…Pixel Monkey
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