Chris Young
Forum Replies Created
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Excellent, Jacob! Thank you!
I’ve changed my Easy Setups and hopefully won’t ever have this problem in the future. I’m generally very happy with the ProRes family, but I suppose they’re allowed their quirks, too.
Chris
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Novamation Studios
http://www.NovamationStudios.com -
Hi, Clint.
I’m afraid I never figured it out. I ended up doing something altogether different after that. About a week afterwards, Final Cut stopped saving my preferences – which may mean it’s symptomatic of something deeper. I’ve tried trashing and cleanup and the like; I think next is reinstalling and hoping neither problem ever appears again.
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Novamation Studios
http://www.NovamationStudios.com -
I have to admit, guys, I’m frustrated with your responses. And I’d like to articulate that frustration without seeming entitled to your time or simply vicious. The Internet is a place where “tone” barely exists, and it will be easy to come off as just another angry Internet jerk hiding behind anonymity. I’m not anonymous – my name is Chris – I’m not trying to lecture or attack anyone, and I don’t do sarcasm. What I say, I mean.
It’s amazing that anyone wrote to respond to me at all. I haven’t done anything to “deserve” your time or expertise, and I appreciate that you spent your personal time to help a stranger at no direct benefit to yourself.
That said, my impression is that you read as far as “green screen,” and sent off the stock “keying” response. I worry that this will make my question appear answered, and drive off further interest from the forum-users.
I probably shouldn’t have even mentioned keying in my post. My problem is that the pre- and post-rendered footage is radically different, in odd ways, for reasons I can’t explain. It happens to be a “Chroma Keyer” filter that’s rendering, but I’d be just as concerned and confused had it been a color correcter, blur, or literally anything else.
Dave, your post on getting a quality key was great for what it was. I’m saving the link to the video, and if I run into someone who is struggling getting their 4:1:1 camera to get a good key, I’ll happily recommend it. Unfortunately, my keying is already finished, and I’m happy with it. As I said originally, I’ve done all the original keying, exported the clip, and am now having problems with that new, self-contained clip.
Likewise, Jerry, as luck would have it, I DID use a terrible camera for keying – and in HDV format – and I knew it would be terrible beforehand. This was about getting what footage I could in a limited time with the tools that were at hand in the school. Even so, I got a key I was happy with, as I said in my post. That part is done.
All I had left was to render; and it was a render that was dramatically different than the pre-render preview. I don’t care that it was a keying filter; I care that the render itself is changing footage in way I have never seen before, instead of behaving in its usual minor-detail-oriented way.
This is partially my fault. I probably provided too much background information in my post, and didn’t phrase the question clearly enough. I don’t know many editors, and like to share editing stories when I can. Your time is valuable, and I chatted away before getting to my question. That was my bad.
But it was still disappointing to not only have my question go unanswered, but to be told that I “can google ‘lighting for chroma key'” to learn about lighting for chroma key — a redundantly obvious answer to an issue I never asked about and didn’t even have a problem with. As I mentioned in the very beginning, the Internet has almost no “tone,” and it’s tremendously difficult to tell the manner in which someone is speaking. I don’t want to make assumptions; and if I do, I should assume the very best of someone who’s gone out of his way to offer advice. But still, if I had to guess what tone would be associated with advice like that, I’d pick “addressing a troublesome pup.”
And while we’re on the subject of tone, I’ve looked over my writings so far, and after a few revisions I’m afraid they’re still coming across as slightly hostile. I truly do not mean them to. The worst of it, really, is that I still have a rendering issue; and I suppose my ego is a little bruised. I don’t actually post often, but I still feel like the Cow is my community, too – and a canned lesson on a different topic feels like a careless brush-off from those who are more experienced than I.
…who still took time out of their day to deliver that lesson to me with, I’m sure, the very best of intentions.
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This looks like a winner. Thanks a lot for your prompt reply and helpful answers!
It was, indeed, a problem based around the fact that only one computer had Final Cut. I was assuming (hoping?) that just importing the tapes wouldn’t add in any proprietary encoding… but no such luck. Live and learn!
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Novamation Studios
http://www.NovamationStudios.com -
If you’ve got FCP 6, I think that means you have to have Soundtrack Pro, as well. (They don’t sell them separately anymore, do they?)
Open it up in Soundtrack, add a Fat EQ filter, and try playing with it some. The odds of it working are kind of slim, but I can’t think of anything else that’s likely to work any better.
If you find something you like, remember to “Bounce realtime to action” before saving!
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Novamation Studios
http://www.NovamationStudios.com -
Hi, Craig. Thanks for your thoughts.
There’s a general consensus that I need to be as clear as possible with the client up-front, however much pride that involves swallowing. That’s not… fun… but it’s certainly good advice.
At the end of the day, I’m an editor. My office is set up to handle post, and I really only venture into the actual production phase tentatively and sporadically — which is part of the reason I’m so nervous. But, as the COW tells us, “Always get in the limo,” right?
I have two cameras, the Sony HDR-HC7 and HDR-HC9. They have no xlr connections, just a little mic jack and a hot shoe (which only works with Sony attachments).
“It makes a huge difference if there will be more than one speaker at a time.”
It’s bound to happen at some point, but I don’t know how much or how often. I’m not sure anyone knows.
As I understand it, I’ll be following around a group who is interested in the power of forgiveness. They’ll host some seminars, hold some religious ceremonies, and talk with people across the country in a six-week whirlwind. I try to capture a representative slice, and grab interviews with people walking by. Someone will be with me, and he’ll ask them what they thought of the message, what experience they’ve had with forgiveness, what things are too hard to forgive, etc. Meanwhile, I film everything I can.
There will almost certainly be wind noise.
There are a few interviews which will be very formalized and are already scheduled, with questions partially scripted. However, they will not be held in a studio, as we’re on the road. They’re more likely to be held in private homes, hospitals, or conference rooms.
Again, I’m in charge of preserving these moments. Voice-overs and studio conditions just aren’t going to happen.
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re: college students
Unfortunately, it sounds like there were some college seniors who were interested in tagging along for free food. When the schedule was finalized, however, we lost them all — going along would have meant missing graduation. I’m not sure why they wouldn’t join later, but it’s not my call.
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I’ve looked over the links; thanks for including those. The mixer page had another link to an explanatory video. I thought it was well done and informative.
I’m going to talk with the client again and try to get him to define “excellent.” I’ll also put in a pitch for opening up the search for sound guys again. Hopefully, if someone who already has this equipment gets on-board, I won’t have to spend the last of the money before the job’s even started. Even if I make some great investments, the thought of ending a six-week job with less money than when I started makes me a little queasy. That was okay for the first couple of years, but too much more of that and I’m in trouble.
Of course, even if someone shows up who knows what he’s doing and has the proper equipment, am I out-of-luck because I have no xlr connections in my camera?
Has anyone tried recording without a breakaway cable, then synching it manually later? Is it as awful and tedious as I think it might be?
Once again, thanks for writing. I appreciate everyone’s input a lot.
Chris
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Novamation Studios
http://www.NovamationStudios.com -
Thanks for responding, guys.
I’m in Bemidji, MN — we’re more into mittens than media. I don’t know exactly what the clients did to find people for this project; but I was given the impression that I was the only one who was even interested.
Basically, it’s six weeks living out of a car, getting multiple interviews every day in almost two dozen states, for not really much money. They’ve even asked my help to find another cameraman, but I haven’t been able to find anyone amongst my contacts who’s able to drop everything else for a month and a half, leaving behind their work and families.
Like I said, I’m not sure where they looked, but I think I’m the only one who answered.
I’m really excited about this job; but then again I’m not a family man and I can safely close the business doors since I’m the only employee. I think my situation is somewhat unique in that regard — and it’s unquestionably unique among the people I know and trust to do good work.
Wolf: I certainly agree with you. It seems to me that if you send someone away with a recommendation, you don’t get their business. However, they appreciate it and are more likely to spread good word-of-mouth about you. Alternately, if you do it and do a crummy job, they’ll never cross your door again — nor will any of their friends.
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Novamation Studios
http://www.NovamationStudios.com -
I’m giving this post a ‘bump,’ as I would like an answer to this, as well.
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Novamation Studios
http://www.NovamationStudios.com