[J. Tad newberry]

hmmmm… i thought i had done this before, but client just sent two mp3’s and i can’t get them to load, play nor convert anywhere. i’m thinking of calling a priest next…

iTunes prefs are set to import as AIFF, but they won’t import. won’t even drag into the iTunes playlist. iMovie won’t open them, nor will QT, FCP nor Streamclip. maybe these aren’t REALLY mp3 files????

any idears????

[J. Tad newberry]

maybe not a repeat client, but don’t burn bridges. bad press travels much faster than good…(sad, but true)

as for the others, yes, if you give them the tapes, and media manage everything else (all sound/fx/music/vo, images, motion projects, created QTs, DVD files and projects, etc. – everything that is NOT on tape) to another folder and give it to them, they should have everything they need.

[J. Tad newberry]

if it were me, i would first kind of nicely aks them, “why do you not want ME to make these changes on my system???”

then, if they still insist (which it sounds like they would), i would give them the FCP project file and the original tapes. that would be the most “editable” version i can think of…and then can re-capture at whatever resolution they desire.

let us know what they say, but bottomline, i think it starts with good communication. find out exactly what they are looking for, and deliver more than they are expecting.

[J. Tad newberry]

great tip! i’ll write it down and stick it on my monitor. if it works, it will save me several hours of re-rendering!

[J. Tad newberry]

well, then i’ll weigh in with a vote for both as well.

i do mostly HD broadcast, and they (the networks) ALL want DF. for my corporate stuff, which is still mostly done with my trusty BetaSP toys, it doesn’t matter: DF or NDF…but i usually keep it all DF just so i’m not switching back and forth…and forget to go back to DF for my broadcast work! : )

thanks again!

mh

[J. Tad newberry]

how ’bout white bars?

: )

seriously, the only way i would know of to “fix” it would be to shrink it, put a nice purdy frame around it, or a “Digital Juice”-type background behind it and tell the client that was the look you were going for. you could shrink it even further (say to 50-60%) put it on the left or right side of the frame, and balance the other side with some snappy word/graphics that emphasize what your talent is saying…that is, IF all this works for the style of the project you’re doing.

other than that, i think you’re stuck with minimal headroom.

thanks again!

mh

[J. Tad newberry]

alrighty. i hear ya…

: )

thanks again!

mh

[J. Tad newberry]

“zero?”

on my timeline, sound is half of each project. . . the other half is picture. we probably don’t talk nearly enough about good sound.

as the guy said, he wasn’t getting any replies on the audio forum, but hopefully Steven’s link helped him out a bit…

thanks again!

mh

[J. Tad newberry]

doh! sorry. i misunderstood and probably spoke WAAAAY below you. my bad.

as far as i can tell, i would see two ways:

keep one long un-cut clip and keyframe the filter in and out, OR

cut the clip everywhere they speak and apply the filter on those sub-clips…

(did i get it this time???)

: )

thanks again!

mh

[J. Tad newberry]

you can either drag the filter right to the clip on the timeline, or double-click the clip in the timeline, then drag the filter to it in the viewer, then of course you can tweak the filter in the viewer once it has been applied to that clip.

thanks again!

mh