[Christopher Travis]

Thanks for your responses, apologies if this is a double post. I tried to post it from my phone an hour or two ago and it doesn’t appear to have worked.

I now think this is just the “house-style”. They didn’t ask for any of the content to be changes, they liked what everyone said, they like the escalating pace of the sequence. The producer just saw one head-to-head cut (different locations, different sides of camera) and said to remove all instances of that kind of cut, without explaining why.

Obviously I just did it without a fuss. I just thought I’d ask on here in case I’d missed out on some secret editing “rule” somewhere along the line.

[Christopher Travis]

Thanks for your responses,

I now think it’s just the “house-style”. They didn’t ask for any of the content to be changed, they liked what everyone was saying they even said they liked the escalating pace of the sequence. They just saw one head-to-head cut (different locations, different sides of camera) and said to remove all instances of that kind of cut without really explaining why.

Obviously I did it with any fuss. I was just wondering if I had missed some essential “editing rule” somewhere.

[Christopher Travis]

As a reference point for an ad extolling the benefits of technological advancement, The Matrix seems a terrible choice. The point of that film was that we, as a species, sought such reliance on machines that’s eventually they took control over us. To use it as a ref point for an ad about health care technology seems even more absurd when you think of the life support system that every human was wired up to in the films.

As I watched the ad, the only pay off I could imagine was that the guy would reveal that he was annoyed at GMs insistence on developing technologies that keep humans alive. But no, he was genuinely interested in how it all worked. He said in the first matrix film he saw humans as a virus. He couldn’t hate them more.. The only thing I can take from this is that GM are advancing the progress of machines over humans.

But then, if its aimed at jnvestors then I suppose they don’t care much about the future of our species as long as they see a quick buck to be made.

[Christopher Travis]

I’m only a baby AE user myself, and I don’t have it in front of me so can’t test it, but if you’re in a hurry here’s a thought for you to try.

I’ve tried to switch masks on and off and never worked it out myself. What you could try is using another shape object AS a mask. i.e.

make sure you have no layers selected, then with the pen/shape tool, create the shape of your mask (let’s call this layer A).

Make it 100% white and position it where you want it.

in the timeline place it directly above the layer you want it to mask (lets call that layer B)

on layer B, in play with the options in the “matte” drop-down menu. I can’t remember exactly whats in there, but they are options for using the luminosity or alpha channel of the above layer, to mask the layer below.

If none of those work, try playing with the blend modes of Layer A.

As I say, I’m only a beginner myself which is why my advice is so vague but I think if you play around in that general direction you’ll get what you need. Obviously then, you can switch Layer A on and off at will.

[Christopher Travis]

Just to play this one out…

The XML isn’t the problem is it? The problem is consolidating a timeline to a new codec right?

Can you consolidate a project? Would it be possible to cut the clip, then bring only the clips that were used into a new project then consolidate that?

It’s too late for this project but I’m interested in what media management options there are in PP. can you point me to any interesting articles on this subject?

[Christopher Travis]

Thanks for your response.

I ended up cutting it in FCP7 because I want to have an editable timeline while recording the VO. I could of course record it seperately and drop it in after, but the client will be supervising te session and I want to get them to sign off the clip there and then. Rather than take it home, drop it in, send it over and leave them open to making more changes then.

A shame really as I really would like to use PP on a project soon. This just wasn’t the one I guess.

Thanks again anyway.

[Christopher Travis]

Thanks for the tip. On my way home now but will try this out tomorrow.

Ive dipped into Mocha before but in my ignorance had assumed that the built in camera tracker in CS6 ha made it mostly redundant. I’ll report back on my results tomorrow.

[Christopher Travis]

This one is better:

https://www.youtube.com/watch?v=oVPkm5zE6QI

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Christopher Travis]

I’m not sure showing discounted hours would create an expectation of free work.

Overall I’d say theres a greater risk in NOT showing those hours because it will lead to the client thinking the work takes less time to do to that standard.

[Christopher Travis]

This sounds promising. So is there a workflow that will allow me to do the offline edit with just the mix rack, and then pass the timeline, along with all the separate ISOs to the dubbing mixer, and have him easily relink back to whatever tracks he needs?