Nina Staum
Forum Replies Created
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Thanks Greg! What wrapper do you use for your DNXHD?
I’ve tried DNXHD before and it ran fantastic on my system, but it was DNX MXF Op-Atom because the project had originated in Avid.Good note on the RAIDs – we don’t actually edit in 4K much but we shoot that way often.
Also when you say it has become a standard I’m curious what kind of projects you normally work with?
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I usually know it’s the right time to get a second set of eyes when I’m out of ideas. Typically I want to assemble thedialogue, then work the visuals, music and timing to the point where I ‘m hapoy – then I get it critiqued.
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The only real downside I can see to it is that it probably is really mindnumbingly boring work.
Beggars can’t be choosers 😉 -
Really interesting. I suspect there aren’t any decently priced CC facilities locally, because my old company got sick of sending it out of town and started doing it in-house. As I remember for 1/2 hour show it takes a PA about half a day to do the captioning, working from script (guess they didn’t know about the voice recognition software, cause I got in trouble for changing scripts all the time.)
I skimmed the CPC site and it looks pretty awesome, had no idea you could do HD captions without hardware. I’ll have to ask around and try to find out what the other companies in town are doing…if they still send stuff out there could be an opportunity. Or maybe I could pitch my old company to hire me to work from home and free up the PAs to fetch lattes?
A quick Google search also turned up a Montreal company with a job offer for captionist working from home. Unfortunately my written French isn’t quite good enough but lots of food for thought for sure.
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Sorry I also meant to say that the idea of doing gfx for a station is awesome…if I could find a gig like that it might pay enough to justify part time childcare. My husband thinks I should try to do live closed captioning. I thought most of that stuff was done in-house (hehe or in Toronto, where I don’t live) but I could ask around, you never know.
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I guess my initial post was really not that clear. I think my real question is: would it be worth the $3K or so to buy a shiny computer on the hope that it could maybe make some money, or should I take my chances as a freelancer with low availability?
This also wasn’t clear: I would not try to freelance or run a business with no childcare, just no paid childcare. Thus, I would be available 25+ hours a week late evenings and weekends when my husband is not working, and he can make his own dinner if I am saving him daycare costs by scoring work on the side, thank you very much.
For the record, I have freelanced before as a side gig to my f/t job, and no it was not all emerg/deadline (just probably the good paying stuff.) When I freelanced lots of it was lo stress but stuff that no legit editor really wants to do or merits the budget for the day shift. Stuff like loading, conforming, transcribing, archiving, cutting the piece of garbage that the client shot on VHS, or indie stuff if you’re lucky. Given that we’ve had a recession I would believe that this work is less available now, so if anyone can speak to that I would appreciate it.
I actually did not realize there was such a thing as a VTR Op in a post facility, I was thinking about trying to get some casual VTR/master control shifts in a TV station. I have exp & connections locally so it might not be totally farfetched. Once again, not fun work – but when you’re done, you’re done.
The idea of working through established shooters is a good one. I do know a couple people who might be up for that. Also good to know that the standard deadline is a week. That does seem very do-able. Question about doing montages though…that crossed my mind, as it would be unbelievably easy…how can you be paid or advertise your services when everyone would want copyrighted music?
1) Move out of Manhattan or San Francisco. Manhattan is no place to raise a small child.
Nope. I’m in Canada and life is just not that simple.Has teaching come shockingly down in price? $20/hour, really??? When I did FCP workshops @ the filmmakers’ co-op I made MORE per hour than I made editing…and I charged LESS than the other guy in town because he’s Apple Certified and I’m not. (Unfortunately had to give up this gig per the contract I had at my full time job.) I also used to get paid ridiculous money to tutor one-on-one or set up peoples’ home systems. Now I know there’s not a ton of this type of work available so probably not an issue either way, but $20??
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That’s a valid point about bringing creepy people into your home. I don’t know that it would make me not want to work at home, since you can have so much more flexibility and keep the costs down. But it’s probably good to keep safety at the top of the list and get to know people a bit before inviting them into your home.
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Thanks for the honest responses.
A $4000 investment on a system would be totally reasonable, considering you could make that back on one corporate project. I am not super attached to Avid and I’ve edited FCP and I think I would find it preferable for corporate work.
My concern is that if I’m going to finish broadcast-quality projects, you get into a bunch of other things you need, like scopes and a decent monitor…although I guess for a doc you could just rent them for a week while you finish and if you get a series you’re probably making enough to buy that stuff.
My other concern is the leap of faith…although I *have* been offered docs and TV series as work-from-home editor, I would feel kinda stupid if I gave up a perfectly good job and bought a fancy FCP and then ended up cutting wedding videos. I’m not concerned about making the same amount of money, I’m more interested in finding a way to work that’s better for my family.
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Dave, I meant putting a clean copy of every shot that has a font over it at the end of the tape.
I asked my producers repeatedly to find out how the broadcaster likes it done and haven’t heard back (unfortunately can’t call them myself since I’m on the graveyard shift.) Sent the first master yesterday with textless shots from hard cut to hard cut – 8.5 mins of material for a 23 min show. Guess we’ll find out.
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Thanks, I guess I just assumed there was a universal standard.