[Mark Suszko]

Bob, I only play 4 strings:-) Actually the next one on my wish list is either a Seagull electric uke or Eastman Archtop.

I have a youtube video up with the Jazzmaster right now but plan to take it down and improve it this weekend. The way the OT is gonna rack up the next couple weeks, the next decision might be the red Eastman… or the blue?

[Mark Suszko]

We’ve had a lot of attrition in the office lately, so we were down to two guys to cover my the entire state. Then my partner took the week off, so I *am* the video department – until he comes back, or the new hires and stringers get on board. So I hope nobody makes any kind of news for the next ten days or so…

Yesterday I pulled a 17-hour day, ten of it spent driving. I’m looking at a lot more of that coming up. Did that like three times last week. It wears you down. On the upside some of the OT paid for a new Fender Fullerton Jazzmaster Uke, now if only I have time and can stay awake to PLAY it… 🙂

[Mark Suszko]

There’s an effect in FCPX called “scrape” that looks like this somewhat. I suppose it could also be found in Apple Motion. it simulates playback head damage on old VCR read/write heads.

[Mark Suszko]

One thing to check is, in your inspector, see if the “Spatial Conform” option is set to “NONE”, not “Fit.”

Second suggestion; build this in Motion or AE.

[Mark Suszko]

Is this video interlaced or progressive?

[Mark Suszko]

FWIW, some people *do* just throw stuff onto the FCPX timeline, ignoring the very detailed pre-logging process. And it works pretty great. I know that’s not the official paradigm, but a lot of what I get to work with is short, news-cutting type work with a very limited pool of shots, a setup that doesn’t benefit as much from the “pre-grooming” of the ingested material, and for that kind of thing, FCPX in trained hands is lightning-fast, the magnetic timeline really helps and the positioning tool is intuitive as well. A point in Adobe’s favor is, my premiere setup renders the same prores files a lot faster than FCPX seems to, and I can’t figure out why.

I’d def agree you should also check out Resolve. But I was in exactly the same boat as you were; I just stuck it out as Apple kept iterating FCPX and now it is quite mature and capable. I dabble in premiere but it feels like grandpa’s Buick to me. Every time I wanna add a transition or crop something and have to go thru Premiere sub-menus, I grimace and say: “oh, come ON!”.

[Mark Suszko]

Simple enough that even I should be able to follow it, thanks Blaise. 🙂

[Mark Suszko]

Could I get it a little more detailed and step-by step, please? Assume zero experience.

[Mark Suszko]

While it is smart to suggest what optimal equipment for a job is, It is unrealistic, and might be de-motivating, to tell Ken to “just buy stuff”/ “Just rent stuff” he might not be able to afford. If that was a practical option for a guy like Ken, he’d have already bought a tricked-out Red or BlackMagic or ARRI, and not wasted his time posting. He’s still editing in Seven, for goodness’ sake.

We live in a world where we don’t always get to have access to the best/perfect tool, and then what’s needed is advice on making the most of what is available. If I sound cranky, I don’t mean to, and this is not a knock on your advice or you personally. But I live in a world of what is, not what is ideal, and “Simply Buy the expensive solution” is not generally an answer that does me any good for my problems. I never get that option, so I have to improvise around what I can access.

[Mark Suszko]

Izotope is the popular heavy gun for this…

There is a cheaper alternative, and you can buy the modules buffet-style as you decide you need them. They also let you try them for free. While they have full on adjustments they also come in a “one-knob” version that makes them fast and easy.

There’s a bunch of them out there, when I remember the specific brand I was looking at I’ll post, but meanwhile, some of them are available via FX Factory.