[Juris Eksts]

If you have an In and an Out marked, and the track enabled, then all the marked keyframes move together. Is it that?
If not, is the same happening in other projects?
Try making a new project and copying the timeline into that, does the same thing happen?

Juris

[Juris Eksts]

[Mads Nybo Jørgensen] “Also consider the very wacky potential of you becoming a third party in a case between someone that you’ve filmed that should not have been present in a gym. i.e. a person on a disability insurance claim or of work for being ill etc. If you are found to infringe their rights as a result as your filming, even if you are in the OK to do so, the cost of defending that kind of cases is expensive.”

Have there actually been any cases in any part of the world where someone has been doing something criminal or fraudulent, and sued and won damages for being found out?

Juris

[Juris Eksts]

I’m not in front of the Avid at the moment, but from memory:
Go into the Effects panel,
choose REFORMAT,
Use PAN AND SCAN,
the Source is 4:3,
Change the Target to 16:9

Bob’s your Uncle.

Juris

[Juris Eksts]

I hope that you’re working on a ‘per hour’ rate, then when the client keeps changing his/her mind, then you are charging more and more.
I’ve often wished for the ability to copy rubber banding, but at least in version 3 it’s not possible.

Juris

[Juris Eksts]

Under the Settings tab,
Composer,
click on the EDIT tab,
turn off SYNC POINT EDITING

Juris

[Juris Eksts]

Got here late to the discussion, but – holding down control, and clicking on the bottom of the track activation button allows you to drag the track as large as you need it, then adjusting the rubber banding is very easy. I find that much easier than CRL and L.
I also find the rubber banding method gives much more control than add edits and mixes, and I like the visual reference as to what is happening. I also like to be able to move the keyframes earlier and later.
(But I do think that FCPs version is better in this case)

Juris

[Juris Eksts]

Interesting concept Grinner,
I used to work in one facility house where the desks were all designed to have the client behind the editor, which I thought was completely wrong. I too like to see the reaction on a face. I much prefer the side by side position.

But let us know in a month how your system has worked.

Juris

[Juris Eksts]

I think that’s the problem with show reels!
You can show that you can cut well framed, sexy shots together to music, – that’s easy, but how do show that you’ve saved a programme from the camera person’s, director’s or contributor’s best efforts to spoil it?
How do you show that you’ve completed a show to a very tight deadline and budget? How can you convey that slow paced, sensitive piece in a 2 min fast moving reel?
How do you show the compromises you’ve negotiated between the producer, director and commissioning editor?
A large part of the work of an editor is to make that work invisible, so if it stands out, it has in some senses failed, but if it doesn’t stand out, you’re not going to put it in a show reel are you?
I think that if a show reel has to be made, then it has to be individually tailored for each interview or potential client, so I agree with Grinner, have a flashily cut trailer, but then take along whole programmes you’ve cut.
And word of mouth is the only way to convey how you’ve coped with all the problems of editing, – get people to talk to your previous clients.

My two pennies’ worth.

Juris

[Juris Eksts]

I was doing this recently, in a country I’d just moved to, where I knew very few people, (although I had extensive experience in the job).
My approach was: first to get a list of ALL the production and post-production companies in or near the city (in this case Dublin, Ireland).
Phone a few a day, talk to the receptionist (nicely) to get a name of a person with whom to talk to about getting advice.
Side note 1 – the Receptionist (or whoever picks up the phone in the first place) is a key character in your quest! – respect them, and respect their advice.
Side note 2 – I think that, if asked for help and advice, people are very likely to respond positively.
Get THE NAME you need, ask for their e-mail so you can send them a CV (sorry – resumee).
Ask to be put through to THE NAME, (and it may take quite persistent calling to actually get through to them) and ASK THEIR ADVICE, – ask if you can go in to see them and the company, ask their advice as to what to do, and ask if they mind you sending them your CV.
(Side note 3 – there’s a balance between calling busy people often enough to get through to them, and calling too often and being very annoying).
This will take a lot of effort and calls, and every now and again you may actually meet someone face to face.
If you get that chance, have a nicely presented CV and/or a show reel to give to them. But the main thing is that they have a face (and an attitude) to a name.
You’ll have to do that literally HUNDREDS of times, – don’t get bitter, don’t give up, one day the chance may happen that they need someone the day after you’ve called, and your CV is on their desk.
– That’s how luck works.
(You’ve got to work very very hard for years and years to be an overnight success).

And just keep plugging away!

Good Luck
Juris

[Juris Eksts]

Or, from effects, use TIMEWARP, you can ramp up or down the speed changes.