[Kyle Sorenson]

The thing is, that sort of expression is like pouring dirt into filtered water. If all you wanted was dirty water, you should have grabbed some from the river before it was run through the filter (OK… perhaps not the most apt analogy).

Seems like there must be a way to access parameters prior to After Effects performing all of these pesky time transformations on them.

[Kyle Sorenson]

Great!

Thanks for the links and the advise. Found out there actually are listings for Trailer Houses on newyork411.com & la411.com – I was just looking in the wrong place.

I expect it’ll be a little slow gaining traction at first. I shouldn’t have made it seem as though I’m dead set on editing movie trailers either. My rationale is that I come from a promotional background, and that the transition to the city might be eased somewhat if I can find a job related to what I’m already doing. But what I’m after is getting my foot in the door. However, it seems to me there are better and more appropriate doors to stick one’s foot in than others. Even if I was just some grunt at a trailer house/post house, I’d be getting to know people.

You’re probably both right though – sending out resumes from afar probably isn’t going to land me many responses. At very least, doing a lot of this preliminary research – finding out where the trailer houses are, who the editors are, etc – is bound to be orienting me along the right track. Maybe I could call up a few post production facilities; chat with someone about my specific goals and circumstances; see what they have to say. Couldn’t hurt, right?

In the meantime, I’ll have to get a website up and running…

[Kyle Sorenson]

No, if I go through FCP > AE > FCP, the original FCP footage will look the same as the rendered AE footage in FCP. HOWEVER, when the footage is loaded into AE, AE adjusts the gain so that the image looks lighter in my reference monitor.

In other words, the gain information that the two programs send to my firewire reference monitor is inconsistent between the two programs.

If I enable Match Legacy Settings (or use an older version of AE), AE eliminates this problem (adjusts the gain to the reference monitor so that it displays the same as it does from FCP) – but I lose the advantages of working in an entirely color managed workflow.

Also, in relation to your comment on input profiles. Are you saying that for footage that has an embedded profile of sRGB that it is better to change it’s input profile to SDTV? Depending on where the footage comes from (the internet, for instance), wouldn’t this result in a less accurate color conversion to the SDTV working color space?

[Kyle Sorenson]

Sorry to bump this; I won’t again if I don’t get a response. It’s just that this is an issue that has been plaguing me for a few months now and I’m sure it’s just because I’m reading something wrong or doing something out of order or some other stupid thing.

Any constructive reply would be appreciated, even “we can’t help you because you’re post doesn’t make any sense.”

EDIT: Hmmm… I guess you can’t bump on the Cow forums. Well, if somebody finds this, I’d still greatly appreciate some help.