[Grinner Hester]

I have always thrown on the latino channels for graphical inspiration.
I like watching Rob and Big for story-telling.
Animation-wise, nothing ever caught my eye like Bump in the Nite. This was 3D animation made to look like stop-motion claymation. They’d even throw a thumb print in there every now and again. The first time I saw it, I thought it was well-done claymation. Anything that can sneak one by me like that… I really dig.

[Grinner Hester]

you’ll wanna grave some external monmitors. Ebay is yer buddy for this.
I dunno why your waveform is not coming up in the cc. With so many bugs in MC, you really are best off grabbing a real waveform monitor and vectorscope so ya know what you are sending out.
Avid should have had desktop scopes built in the interface 15 years ago. These and a DVE that is not aliased… just these two upgrades… would have indeed made all the difference in the world for em. I’d venture to say they’d still be selling “avids” today if they had doent hese two things alone.

[Grinner Hester]

virtual dub is cheap and easy.
Assuming you already have after effects, that’ll work just fine.

[Grinner Hester]

I remember being a a newbie at TNN in ’96.
Diamond P Sports was in the house to cut another NHRA Today show. It was my first NHRA edit and I was eager to impress. The usually booked a suite for a whole week and 4- 4.5 days was the norm.
I went out of my way to kick ass. I had that show cut to time in a day and by mid day on day two, we were polished and done. I hugged and high fived the client and strutted proudly to my supervisors office to boast the new NHRA Today time record.
Dude flipped. “no you are NOT done! You get in there and dance if you have to but Diamond P is booked for the entire week!”
at the same place, I was almost fired for not bagging Dick Clark Productions on a deadline to make a scheduling point.

Somtimes doing a good job is not the objective at all, man. Again, it revolves around who is callin the shots.

[Grinner Hester]

dont fight for what is right on tother people’s projects.
Just make it how they want it. Offer your siggestions and when they are cast aside, just let them go.
This is what editors do. Producers don’t always want creative input. Quite often the gig is just a media processor…a button pusher between a computer and a person who does not know what the buttons do.
By all means, I am not saying be a media processor and await time code niumbers as that will land ya unemplyeed quicker than having an opinion. I’m just saying, make a director’s cut if you have to but don’t go against the person paying.
I have made a lot of wonderful things that were pretty freakin lame by the time they aired. Today’s producer is often an intern who has never been in a suite. There is an art to drivin’ the boat and makin’ sombody else think they are the captain. This truely is the key to the craft.
a tactic I use when somone asks for a page turn or somthing is to pretend like I thought they were kidding. They usually don’t defend it. I am also quilty of placing ideas in their head and cediting them with the idea “so your saying B&W the background, make the lady’s hat red and then sting it with a quitar riff!? man, thats gonna be awesome, here we go!”
you’ll be amazed how many times thjat results in a red hat over a mono-colored background with a stinger. And you’ll be amazed how many times they gloat over that a week later.

in short…it doesn’t have to be an arguement, it just has to be their idea.

[Grinner Hester]

the bottom line is the boss runs the show. If it’s not you, find out who it is. If the boss sent her, she is your boss.
If you were hired to be the boss, you are dropping the ball.
I am in the business of pleasing clients. Quite a bit of that time has gone to making a show worse at the request of the bill-payer. I would not be in business if I were not prepared to let go of their project.

[Grinner Hester]

just create a new tape name with that tape in the deck.

[Grinner Hester]

these filters would be on v2, assuming your disolve is on v1.

[Grinner Hester]

I’d set aside 3 days for a project like this.
In nashville, we use to cut misic videos in a day but everything was storyboarded out and usually just one camera was used. Your multicamming will take up some time…authoring, ect.
It certainly ranges but I’d quote this at $4,500.

[Grinner Hester]

what are you editing with?
you can use a quick disolve and on a track above the discolve, animate brightness, contrast and saturation. You can add some blurs to it too.