Gary Hazen
Forum Replies Created
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“I am a director and I rented the TC from someone for a 5 day shoot…” -KC
“ive rented this machine twice for a total of 9 days on 2 projects and all the videos do this in different amounts throughout the clips taken.” -KC
If I’m following this correctly, you’ve been burned on 2 big projects. I’m curious on why you used the same work flow if it didn’t work very well the first time. Mpeg is a poor choice for post production, it’s place in the production pipeline is near the end not the beginning. On the next big project you should consider hiring a technical consultant to avoid potential problems in post. I’m not saying you need to hire this person for 5 days. Just bring him in at the beginning for the planning phases. In the end it will save you time, money and spare you from the headaches you’re experiencing now.
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Will it outlaw other forms of audio processing that are routinely applied to spots?
You mean like when the sound designers compress the heck out of the spot and then slam it right up against the legal levels limit. This results in a spot that is considerably louder than the other spots on the air and has apparently irritated a few law makers.
Do any of these “leaders” have any idea that perceived volume has more to it than simple gain?
You can measure loudness with the right equipment (Dolby loudness meter). Now who’s going to pay for the additonal hardware? And in the smaller local markets with staffs that have been cut back drastically – who’s going to montior the loudness?
This would be almost humorous if my local cable provider (Comcast) would even take the time to set levels properly on the feeds from different networks.
No kidding. In my area it can be as much as a 12 db difference between the channels.
Without getting too political – I think there are many more pressing issues that our elected officials should be addressing instead of spending their time regulating the loudness of TV commercials.
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The biggest hurdle to learning any application that is different from another is accepting the differences. Oftentimes you’ll find Avid editors frustrated when using FCP and of course the inverse is also true. The frustration stems from the user wanting the NLE to work in a way that’s familiar. Once the editors get past the fact that the NLE’s are different the learning process becomes much less of a battle.
Send Adobe a feature request and then decide whether to wait for them to change the software to your liking or to embrace the differences and move on.
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It’s a poor craftsman who blames his tools.
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” I have RGB gain and gamma control in the midtone, highlight and shadow ranges” – Steve T.
Use the levels tool or curves tool to individually adjust the highlights, midtones and shadows of each individual channel. Use the histogram tool to view the levels of each channel as you make the adjustments.
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Google: Photoshop color correction tutorials.
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Join NAPP, National Association of Photoshop Professionals, for a wealth of tutorials and advice from industry pros.
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“… use a portable drive or USB stick to the editing systems on the other side of the building (sorry – no network).” – Bob Z.
Wow – sneaker net. It sounds like this facility has much bigger problems than an aging producer. Still a good job by the intern updating the work flow to 1996 standards.
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FCP can be used with Avid Unity sytems (5.1 and above) It doesn’t require any special third party program. Depending on the Unity configuration you might need to install a fiber channel card in the Mac and some Unity software to access the workspaces.
https://www.avid.com/unity-approved/
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Add a small amount of noise (2% should work) to reduce the banding.
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You can download the Avid codecs from their site.
Given that the client is an Avid shop I think that using the Avid codecs would be the best approach. The only reason to render out a separate fill and matte layer is if you’re delivering the elements on tape.
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It could be a self populating field. That is the operator isn’t keying in the data every time. The data is being populated from an XML source. In the scenario you describe perhaps the original database contains the incorrect title. Each and every time a self populating field is created that taps into that database the returned data is incorrect. As to why no one is capable of fixing the XML data source, I don’t know.
With all of the automation going on these days maybe the CG op was downsized. I guess you modify the old saying, “If a tree falls in the forrest…” to say, “If a lower third airs with a typo and there’s no CG op to correct it, is there really a typo?”.