[Greg Janza]

I would skip project manager altogether since it’s so slow and unreliable. Once you have all of the media organized in premiere I’d select your media stringouts for each project and create two new projects which only contain their respective media.

Then in each of the new projects, I’d transcode all of the media to dedicated folders per project. If you shot in H264 format you’d want to transcode all of that media anyway.

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[Greg Janza]

There’s a certain amount of irony that I’m working on a new imac pro at my current gig but using a Das keyboard and Logitech mouse due to the fact that both the mac keyboard and mouse are ergonomic disasters.

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[Greg Janza]

Shane, you should give motivational speeches to those entering the business.

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[Greg Janza]

[Shane Ross] “You get an F on this business school test.”

Shane, you made me laugh so kudos to you on your post. The perfect way to discuss this would be over cocktails but in lieu of that, all I can say is that the business has changed dramatically since I began freelancing in the mid-90’s. I’m happy for those that can maintain a premium charge because I agree with everything you’ve stated but at least in my market, larger economic forces dictate rates and if freelancers aren’t flexible they’ll simply have less work offered to them.

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[Greg Janza]

[Oliver Peters] “if you are a freelance editor and not charging a kit fee for a laptop system or an hourly rate for a home studio, then you have only yourself to blame. A day rate for a home studio – editor + gear/room – should be minimum of $1K-2K/day in most medium US markets. If you aren’t charging that, then you are really on a slippery downward slope.”

Perhaps your market allows for this added charge but larger markets like NY, LA, and San Francisco don’t allow for this at all.

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[Greg Janza]

[Steve Connor] “Camera Owners must be laughing their heads off at all the Editors angst about the cost of the Mac Pro”

Kinda an apples and oranges thing. Camera owners have a significantly higher day rate to cover the high cost of their equipment. But most freelance editors don’t have the option to charge a premium for their computer equipment on top of their daily rate.

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[Greg Janza]

[Oliver Peters] “BTW – speaking of the trash can Mac Pro, it appears to have been removed from the Apple website. I guess you can now only purchase refurbished units from their website going forward.
“

That’s the best news.

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[Greg Janza]

[Bill Davis] “All Resolve really needs to do to become a contender for me is to lose the “tracks” metaphor, license X’s magnetic approach, and do something like Roles.”

Keep in mind, the current primary Resolve workflow is xml to and from Premiere and Avid for color work. The features that you love so much in FCPX aren’t necessarily a top need in Resolve.

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[Greg Janza]

Put both clips in a timeline and then highlight both, control click and select sync. Premiere should be able to sync the waveforms.

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[Greg Janza]

You can generate proxies with any program you’d like but the one requirement is that proxies match the full res with the exact same audio channels. If your full res is four channel audio then your proxies must be four channel audio. There’s no work around for this.

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