[Glenn Sakatch]

I’m not from London, but i’m sure you will soon discover every editor has their own rate.

You’ve pretty much answered your own question. You have your rate…around 150 a day.
They have expressed their budget…around 120 a day.

How badly do you want the job?

Are you willing to drop your rate for a longer term project? (not unheard of to have a lower rate after a booking reaches a certain number of days)

I personally don’t have different rates for whether or not my equipment is used. I have a rate, and that is what I quote people. From there, like many business transactions, the negotiation can begin.

[Tonhito De Poi] “I heard that some people charge around £230 per day but I don’t know if that is because they edit in their own suite.”

Are you on par with those editors? Most cities have A-list editors and B-list editors and so on.
This doesn’t necessarily make them better editors, but in this world, reputation can drive a lot of business decisions as well.

Glenn

[Glenn Sakatch]

Glad it all worked properly. I find many Avid users are unwilling to take the time to learn how the relink tool works. It is very powerful, and as you have discovered, can save your bacon.

Media management workflow is a huge part of the process.

Glenn

[Glenn Sakatch]

Hi Carlo. Welcome to the world of editing.

The THM file is simply a thumbnail auto created by the camera. It isn’t really anything you need to worry about.

Why do the pictures look so different? Aside from the possibility of different light in the locations you shot, or different settings in the camera, like white balance, you are dealing with two different cameras, with two different sciences behind them. The Rebel is (probably) 3 years older than the 7d? I’m not surprised when i get footage from two identical cameras that looks different, so i wouldn’t assume to different cameras would look the same.

How do you fix it? practice, practice practice. You can start with the color corrector in Avid, and trying to let it set your black, white and color automatically. (in the curves tab you will see some buttons on the right side of the page that look like an eyedropper, a black arrow up and black and white arrows up and down…hover over those and you will get a description of what they do) If you want to really get in there and get picky, you will have to start looking into some color correction tutorials. Avid MC has a good basic color corrector, but it is far from the best on the market. Might want to start playing with resolve as well.

enjoy.

Glenn

[Glenn Sakatch]

I find application manager to be a pain quite often. Just go download it, if you are entitled.

Glenn

[Glenn Sakatch]

is it possible the audio was recorded at 44khz? I know Resolve didn’t use to like non 48k audio from wave files…not sure about embedded audio.

Glenn

[Glenn Sakatch]

Interesting. With a large tablet, Euphonics color panel and control panel, and a Keyboard, desktop real estate is at a premium. Splitting up the keyboard onto opposite sides of the panel might work for me.

I notice in the developers website a small wire connecting the two sides, but you don’t seem to be having an issue with distance between the halves. Can you explain that wire?

Glenn

[Glenn Sakatch]

Quite often on issues like this, my brain goes the other way.
Again, not seeing the issue in full motion.

Can you comp the scene out. and cause the background to escalate to that highest point over say 15 frames. (gradually brighten the background over the course of 15 frames coming in and going out again) You might not be able to mask that those frames are brighter, but you might be able to turn it into part of the shot.

Glenn

[Glenn Sakatch]

You can relink your edit to the new sublips, and the new audio will swap out the old audio.

From there you continue to use the new subclips for all future edits.
(How much editing are you doing if you can’t hear the audio?)

I suppose you could also arrange with the audio guy to deliver you a wave file that is specifically from a pre arranged set of timecodes. You could then digitize that timecode span in your original tape digitize, output that audio as a “temp” wave file…reimport it and sync it with your tape video.

When the final audio arrives, batch reimport your audio, but point it to the new wave file. If the timecodes match up, it should work.

(I would just auto sync and relink)

Glenn

[Glenn Sakatch]

You should be able to do an audio auto sync based on timecode, between the imported wave files and previously captured video files.

Same as a film shoot, audio comes in from one system, video from another. Might depend what version of Avid you are running.

Glenn

[Glenn Sakatch]

Unfortunately your question would tend to presume that someone on this forum can and will claim that their technique is “The best!!!period!!! end of discussion!!!! and nobody can contradict it!!!”

That is not how anything in this world works.

What is the best?
who is the judge?

If you create the highest possible quality out of any of your programs, and want to upload that 2TB file up to youtube to let it recompress it, I suppose you could say the is the best it can be…but I’m sure someone will say “nope, It could be better”

Do some tests, find a workflow that works for you, where you are happy with the results, and move on.

Personally, I don’t upload to Youtube, and my Vimeo account only goes to 960×540 at 5600…so that is what I upload.

Glenn