Eric Lagerlof
Forum Replies Created
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Cool Factor – High. But I would be editing standing up and swinging my whole arm to drag a clip from the browser to the timeline instead of pressing a finger and flicking a wrist.
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Formal classes???? One good source of ideas is but a couple clicks away. Check out the Cow’s Demo Reel section, especially Editors Reels. Some very good people with some inspring ideas. Download and watch-just realize there are different levels of ‘good’, but if you look for e’excellent’ and ‘wow’ in the reactions to the reel you’ll find some great stuff.
Agree with Tim, Chris & Trish’s books are good for fx chops and inspiration. I’ve also seen a couple of good books on editing ; “Nonlinear Editing” from DV/CMP books is a good example of a book that looks at the craft and aesthetics instead of spending time on how to operate the software. If I remember the others I will post again. Some of the early film tomes on Montage Editing, some of the russian film theorists, etc. come to mind. Just can’t remember titles.
I’m trying to expand my post skills as well and besides the above mentioned sources, taping and analyzing commercial spots, good documentaries, MTV bits are all possibilities, and design mamgazines, ‘Communication Arts’ (and not just the advertising/tv commercial editiion, but the illustration, photography and interactive editions as well) are all great sources. Not only for style, but for how to create/refine meaning in a visual presentation. (OK, I’ll go now…)
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Craig, thanks for the reply. I’ve only got 42 fonts total in the 2 folders instead of 52. Installed the Live Type media discs twice and 42 fonts seems to be what I got. I did get FCP Studio 5.1 ‘academic’ version. Perhaps that’s the issue?
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My hunch is that when Audition was developed as Cool Edit, talking to other programs, especially video programs was not a big concern. That Adobe has not snapped to the marker issue is shame on them.
I’ve been tackling Final Cut as some people insist on using it and as a freelancer it’s becoming a financial necessity to learn… Anyway, the integration of the FCP suite, while not perfect, feels very thought out. On Adobe’s side, it feels more like add-on ‘benefits’ they tack on slowly over the various versions to keep us buying… BTW, have you noticed that the DVD markers in PPro 2.0 haven’t been implemented yet either.
OK, rant over. Well, almost. I know things like Bridge and Dynamic Link are nice, but it just seems like they could really nail the workflow stufff so much better.
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Nice site/visuals Steve! As to the original question… You can read a recent post on the same subject and get some answers there. A Hollywood or film look is the result of lots of things, the camera, the film, the lenses and the developing/post processing are just part of it. There is the experince of the DP’s, the Director, gaffers, etc. Then there is the production designer, the costume/wardrobe designer, the… And of course, the budgets for crews, lighting gear and generators, etc.
Your question is easily answered; yes the camera can make a difference, yes, After Effects/CineLook can help give you more of a film look if used right. But that won’t mean your footage will look like a high-end film. Look at Steves website and I bet even if he used a DVX 100 or an FX-1 it wouldn’t look all that much different. Thoughtful lighting, interesting angles, just the stills evoke a story. Bet he and his team spent a good amount of time on location scouting and casting too. Film is a collaborative medium and a camera or software choice aren’t nearly as important as talent, experience/knowledge and a fierce desire to make every frame of your video/film look like art.
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I know they exist, just cannot remember where? However, try Maxon>Resources>tutorials and google cinema 4d tutorials and you should find some. I’m prety sure Trish & Chris Meyer talk about the process in their After Effects “Motion Graphics” books. You might also get some info from the render settings part of the C4D manual where it talks about saving an accompanying ae project file and the multi-pass layers. Sorry I can’t remember the specific place where I found tut’s but I use ver. 8 anyway, so things might have changed in ver.9. Good Luck.
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Ed, did you have to pay for your phone calls to Adobe? Or did they actually treat the issue as a defect kind of situation? If you did get free support, what was your request ‘path’? Thanks for your continued interest, it’s nice to have someone respond!
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Just tried clip notes myself. I agree 100% with both the comments about the new version being a system hog and the clip notes file size. Maybe they can incorporate Flash technology on their try, now that they own it.
As to the password, it is a standard request in the clip notes dialogue box, maybe creating your own while in PPro will work? Good luck.
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Hopefully someone who actually owns your model of Matrox card can answer your questions. My experiences are drawn from earlier cards, primarily the RT2000. Back then DVD authoring was relatively new and I would hope that Matrox has made changes in how their cards work with DVD spec files and encoding. Again, someone who works with your model card would better know the specific ins and outs, I wa just trying to give you a general heads-up.
AS to the filters, I’ve never used the ‘auto-color correction’ filter. I sometimes shoot dance performances, one show wide and the other in MS & CU’s. Sometimes I have to match the two shows and use the 3Way Color Corrector and or the Levels adjust. The renders go relatively quickly, even without the hardware-accelerated rendering. I render while I eat meals, that kind of thing, if time is short.
Anyway, good luck.
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I’m not really clear what the problem is, everything sounds like pretty standard fare. When you say VCR to DVcam are we to assume you mean analog (i.e. VHS or BetaCam), routed through a DV deck to convert to DV? As to the equipment list, it sounds like you’re loaded for bear, I’m quite envious, actually. So what is/are the specific problem(s)?
With Matrox, if you capture in DV mode, the ‘DV’ files were (as of the RT 2000, 2500’s) and probably still are somewhat proprietary; for the real time effects they use. You probably have to stay with the Matrox machine throughout the editing/encoding process when using ‘Matrox DV’ type files, unless you convert/export your edited movie as standard ‘Microsoft DV’.
If you want to Author and transcode to MPEG2 on one machine while editing concurrently on another, capture through a standard firewire card, bypassing the Matrox file wrappers. Your editing won’t get the advantages of real-time effects but you can edit one one machine while the other is chugging away with the DVD trancoding. Myabe this is useless info to you, but that is the only thing I can think of that might confuse you. Everything else sounds extremely straightforward.