Christopher Travis
Forum Replies Created
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Great, thorough, helpful post as always Mark.
One question though:
If “your rate is your rate” then why does it matter who speaks first in negotiations? Surely I’ll always come out with the same number?
I ask because I know why my day rate is, and every time I deal with someone new, they ask and I tell them. Sometimes they wince, sometimes they don’t blink but I always come with the same number.
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Update:
Thanks Alex. I tried flattening the sequences but had no joy.
What did it in the end was exporting in 2 goes. I duplicated the sequence twice. One the first one I deleted everything below track 8, and on the second I deleted everything above track 8. Both exports worked, and the sound guys where able to line them up in pro tools.
Still not exactly sure what caused the problem but anyone experiencing the same problem should give this a try.
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There isn’t a shortcut for adjusting my multiple Db at a time but if you’re in MC7 or later (I think), you can adjust the gain on clips on active tracks by 1Db at a time, with opt+down arrow. That’s from memory though, it might not be right. If not, hopefully someone can correct me.
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A few places I work have iMacs for editing in their open plan production offices and it is far from ideal. If the editor is working alone on headphones it’s manageable but not great. If and when either or both editors have a producer/director in with them, then it will be a nightmare as both teams are trying to watch their cuts and share comments. It will be very distracting and harm either productivity or quality, or both in my opinion.
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Sounds pretty sweet Glenn, I’ve been hearing a bit about these G13s, maybe I’ll take a look.
Thanks also to Neil for your suggestion. I’ve gone and done it the laborious way now but I’ll look into macros when I get a chance and see if I can avoid having to it this way again in future.
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Fair enough Shane, that all makes sense.
Guess I need to get used to cutting with a busier timeline.
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Thanks Shane,
I guess I’ll just have do it the long way.
I see your point about always including the audio, and when the audio from the cutaways is useable I will include it, it’s just that often you’ve got the presenter/contributors mics on the audio, or if they’re proper cutaways, often the presenter mic is out of range and so there’s just a load of radio distortion on the track, so it’s useless for wild track. That’s why I go through my cuts and add looped wild track to fill the dead air.
Seems like a hassle including all this junk audio in my timeline when I’m cutting. I can’t be bothered to be breaking out the audio mixer and zeroing clips that have mic audio on them everytime I paste a cutaway into the timeline, seems like that would ruin my flow. But then is it worse than spending an hour pressing =,-,7,t,F2,esc,7,-,=,b over and over again? Not sure…
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Seconding “top” and “tail”. Since learning avid I miss these in FCP7.
I have “top” set to shift-z and “tai”l to shift-x. Indispensable when whittling down b-roll or interview sync.
As mentioned above, watch out for track selection as it will seek the next edit point on any selected track.
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Most “post-houses” (i.e. facilities where edit suites and editors are hired out) are Avid. They’re also mostly Windows based (in my experience).
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Hi Michael,
I did ask the tech boffins about that but they said the “category” metadata was added in the Interplay Access programme and as such isn’t accessible within Media Composer. This makes sense to me since each clip will have multiple “category” entries. I’m not sure how MC would deal with that.
To update; what I’ve decided to do is keep all my sequences in one bin, and sporadically “show related clips” on that bin. When I colour code all the clips in there, they seem to update across the rushes bins when I open them.
I may run into problems down the line with this, but for now it seems to be working.
Of course, any further thoughts encouraged.
Chris