Grinner Hester
2
Avid Coins
18
COW Coins
4
Premiere Pro Coins
Forum Replies Created
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Avid’s corner pinning is not to be confused with AE’s. Think of it as distort in photoshop… where you simple change it’s shape.
Say you’re tracking text to video. Put your text on V1 and click the tracker. You’ll see one tracker ready for assignment. Drag it’s center point to a good tracking point in the video then hit track. You’ll find it’s default threshold is often the best it’s gonna get.
Then promote to 3D, go to tracker and turn on that tracker. This is what trips some editors up. As soon as ya do, you’ll see it working and you can keyframe scale, position, rotation, ecet changes as needed. You can also add up to three more trackers for these.
Stabelization works the same way only you have to up-scale it to counter the movements. Ya can’t always get away with this in Avid as the DVE tears up the image quality so when up-scaling.
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😉
thanks for having a good sense of humor, brother.
When’s the move? Hop on the horn today. Even if you have a few ‘call me whan you get into town”s, you’ll be making your fiance feel better.
Fret not. Again, I moved my family to five states in as many years. It requires far more guts than knowledge. lol -
The hard part aint landin’ a gig… the hard part is ironing out a house and a move on Friday and being in and ready to work by MOnday. lol
As mentioned on the Art of the Edit forum, let the local companies know you are relocating. Should they need any help at all, it’s appealing to them to not have to relocate you at that point. From production guid directories to yellow pages dot com in that area, you have many places to call. Cold-calling means many dead ends so do it earlt in the morning, lay off of it by noon and stay chipper the entire time. MOndays are the best day for this because that’s when they feel overwhelmed with workflow. Later in the week they are just tired of sales calls, primed to bark no thank you and ready for the weekend. Hit the known job sites and search that particular market.
Also, don’t forget that location has very little to do with what we do these days. Bandwidth is aplenty. It’s just a matter of making the places you wanna work with comfy with your working unsupervised.
Lasty… never call your bride to be “the fiance”. Sweet cheeks, cumquat, and sugar boogar are better than “the”. Call her angel for now. She’ll be paying your bills for the next three months. -
throw a color effect on there, crank the brightness and contrast. You can bring down your reds and crank some blues to your liking but the brightness countered by contrast gives ya free grain.
I’d not use the color corrector for this… the good ole color effect will give you quicker better results in this case. -
I capture everything I can for longforms. All of it, if I have the space. I find often I use a shot that wasn’t a shot at all to stitch the story together.
I ignore my projected running time for the first pass and throw everything usable on a timeline. I then look at that time and guage how much will end up on the cutting room floor. I go from the top subtractively and this is when the story unfolds. I try to cut it to time witht his pass or the next. I then go from the top again with b-roll, music and notes for effects and transitions. I then go from the top again with those layers of love. This method keps me from spending time tweeking a shot that may not even make the cut. Should I have to spit a show out at the end of the day, I could. Meanwhile, I have alicated time to make it perfect tomorrow. -
I’m not sure what you are asking. You’ll make a bin per topic. In this case, you won’t havea bin for broll, SOT, graphics, music, ect but perhaps per location or per part of the song that shot was intended for. You only shot footage for a 3 and a half minute piece so it’s not like you have hours to sift through. I often just use two bins for music videos… one for elements and one for sequences. Today, much of my raw footage is brought in as one clip. Don’t get lost in it. Explore it with an open mind, If it grabs you, throw on a rough timeline and then use that timeline as an element. If the shot does nothing for ya, just move on. This way, you can select from maybe 8 minutes of footage and not feel so overwhelmed.
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You’ll find Ps are the best consanant to sync with. Bs work too. If there are folks playing, use the kick drum. You can sync these shots one time and place em on different video tracks, then just go throu em subtractively. This way you don’t have to do as much syncing.
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[Mike Cohen] “I thought the whole point of 500 channels is that niche programming creates a specific audience for each genre.”
Nope. They know you’ll still just watch 4 channels. They advertise 500 because their compretition boasts 499.
Many of these providers have installers that use buzz wirds like component then grab your coax cable to hook it up. It’s all a big song and dance but that’s what TV is. It is it’s very purpose. Some thought it was for communication. Others still thik it’s for entertainment. It’s a square sales dude that takes no questions.
So why is it losing? BEcause the net does take questions. It’ll even respond. BEcause it’s interactive, more folks will watch a 320X250 pixelated picture in a picture than a beautiful 56″ LCD fed by that coax I mentioned. Content has always ruled, we just haven’t always had a choice or a voice. -
It’s almost comical. Programmers seek hip, contemporary programming, often hire middle aged dudes to aquire it, then surf youtube for their own entertainment. Never has it dawned on them to make their current content interactive. The technology is not the bottle neck. It’s their habitual behavior.
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I have found just keeping my rate 100/hr is the easiest method for all. 800 a day is quite the norm and many charge OT. Some don’t. Some offer half day rates. I don’t. Some charge less for travel. I don’t see why. After much evolution, I came back to how I started… just charging by the hour. This way, should their shoot be longer than expected, I eat nothing. Should I get it done quicker for em, they save and put me at the top of their list next time around. The math is easy.
I edit at home now on paid-off gear so I carry these rates turn-key. From pre-pro to post, everything I do is just 100 per hour. This ease has been a great saving grace in this economy. This simple method allows me to easily offer flat bids for turn-key projects… many of wich I otherwise would have just edited.