Debe
Forum Replies Created
-
Ok. That was a little brief.
They do it because they either don’t know they’re not supposed to because they’re new, or they figure no one is going to catch them, so they don’t care.
Either way, the answer to “how do they do it” is still “illegally”, unless they are paying for sync rights. As we all know, that’s highly unlikely.
The “real” question is “why do they do it”, and that answer is the clients ask for it, and their excuses for breaking the law are what I wrote above.
debe
-
Illegally.
-
Seriously, if it’s a contrusction company or the building’s maintenace crew, they should have insurance to cover damage by their workers.
If they recommended that you remove and store anything expensive and/or breakable and you chose not to, then you’re probably SOL, but otherwise, they should have a policy that covers the damage.
debe
-
It might be best for you to offline on your system, and rent a room that is properly set up for creating broadcast masters that also has access to the deck you’ll need for output, and finish in that room.
If you’re feeling like you don’t have the backgroud to do proper color correction and audio sweetening, it might be wise to pay someone else a couple of hours to put it together correctly at the end, after you and your client have made all the hard decisions.
Just anohter option. It might not be worth a stress ulcer, and if you don’t know what you’re doing, you’ll probably lose the client, and it may harm your reputation.
debe
-
Or you can trash your Thumbnail Cache in the Final Cut Pro Documents folder and FCP will rebuild it.
Should solve your issue.
debe
-
I just read a very interesting interview with Mr. Murch. He says “… any editor knows that the only way you really learn how to edit is to do it. It
-
Have any of you watched the new Food Network show, Diners, Drive-ins and Dives?
(I have no offical connection to it, other than two of the guys I assisted 15 years ago when I officially got into the business are working on it now, so I don’t know much more than what I’m about to share…)
That’s truly a “collective effort” show, according to the editor I last spoke to about it. When they start out, there’s no real script. You can’t script a show like that. Up to three editors work on one show, one segment at a time. The producer takes the editor’s first cut and noodles with it more, making creative changes, and gives it back to the original editor for “smoothing out”. Then a completely different guy does the finishing, I think. (We didn’t talk about that part at all.)
So far, according to the guy I was talking to, it’s currently the highest rated show on the Food Network after only 3 episodes. (He acknowledges that whether it can hold that is yet to be seen.) It’s even doubled the fabled “South Park” rating. Apparently South Park has a very stable, very consistent rating. If your show can match it, you have a chance to get picked up or renewed. If you don’t match it, you may have troubles. Diners, Drive-ins and Dives DOUBLED it.
If just one guy was doing that show, I doubt it would have the same impact. Everyone working on that show has a hand in the success. If one guy was doing it, he’d probably already be dead.
The moral of the story….I say get a partner! Get a producer! I don’t think I’ve ever seen a book or anything that can really teach you how to find the story. Every one is so different, I don’t think there’s a way to encapsulate it into “teaching materials”. It really just is experience.
debe
-
Also remember how much the TV station paid for that big editing room you used to work in for 12 years. A pretty nicely-equipped FCP room goes for a fraction of that cost these days!
Every three months there’s $500-$1000 to spend, at least. Put it in your budget, charge a fair rate that covers that and your other costs, and you may be surprised how fast you’re actually turning a profit.
debe
-
Did you get your $20 back?
debe
-
They have several products, depending on what features & how much control you want/need.
debe