[Craig Moorhead]

Actually, that could be really useful, too. Though you’re right – I’d need to be careful exactly what I used it on.

A friend just pointed out a shortcut that turns out to be what I was looking for, though I may not have asked for it clearly enough.

Shift+G will take you to the next gap in your timeline. Option+G will take you the previous gap.

I tested that a few times, then I put my cursor at the head of my timeline and hit Shift+G and it jumped straight to the end – my new line of defense!

Thanks for thinking through this with me today, you guys.

[Craig Moorhead]

Thank you, John. That could be one way to go about it.

Yeah, there’s definitely no replacement for watching a show down for all the usual reasons. But it’s still not foolproof. Just looking for another line of defense.

[Craig Moorhead]

So… dumb question, then?

It would be a pretty handy thing to be able to check for spots where you have flash frames of black without having to spend an hour doing it. I could’ve sworn there was a software that did something like that – an early version of Premiere, maybe?

[Craig Moorhead]

In case anybody comes back to this thread about this ‘jaggie’ problem, we’ve found a solution that might make things move a little quicker.

1. Export your sequence to XML
2. Open XML as text
3. Hit apple-F to open your find/replace
4. Uncheck ‘Ignore Case’
5. Type ‘upper’ in Find. Make sure it is lower case. Otherwise it will replace a whole mess of ‘Upper’s
6. Type ‘none’ in Replace
7. Find & Replace

This cut down our time by a bunch.

Hope this helps…

[Craig Moorhead]

Thank you again, Shane and Michael.

I hope you don’t think I’m questioning your abilities or experience. I guess I’m just looking for some of the math behind why HQ has no advantage.

But no worries – I’m convinced enough, if for on other reason than you guys and Gary and Rich argue so passionately against HQ in these situations. 422 standard will be my top file type.

Thank you again for your time!

Craig

[Craig Moorhead]

Thank you, Michael, Andrew, David and Shane.

No, I’m not expecting to gain information in the image by going up the ProRes ladder (if only it worked that way). But I’ve always taken shows from ProRes 422 to ProRes HQ for Color. That’s just always been our colorist’s spec. Shane, you say “Some people say that “the extra little bit of data you get between 422 and HQ during the color process is worth it.” Poppycock.” Why?

Also, because it caused confusion – the footage will be in both HQ and proxy because there’s another editor and getting the proxy files back and forth when need be is going to be easier for us.

Andrew – I think you’re exactly right. I need to just get this to an archival file and let festivals or what have you determine where it goes after that.

Thanks again, guys.

[Craig Moorhead]

I know this is late, but…

And also thank you, David! Very sorry to omit that thank you. This was valuable info for me!

Craig

[Craig Moorhead]

Yes, that makes sense. Thank you, Tony!

Craig

[Craig Moorhead]

Thank you, Shane. Very helpful stuff…

[Craig Moorhead]

Thank you, Shane. That’s great info! And it fits in with what I figured – that a reel of reality, no matter how strong, probably won’t get me very far. But that’s paying your dues.

Speaking of dues – I assume you’re union? If so, with what guild?

Also? Great blog!