[Paul Escandon]

You cannot monitor audio on your mac when logging HDV the way you can when capturing DV. There’s not even a check mark for it.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

>>1) are demo reels required to be submitted for new hires at your job?

Yes demo reels are required. How else are we supposed to hire an editor if we don’t know what they can do?

>>2) How crucial is a demo reel in the selection process for new hires?

It is paramount. The demo reel is the easiest way to determine what one’s capabilities are.

>>3) Do reels need to show specialized work that refers to that company or a reel that shows all past work and abilities?

Specialized work that refers to a company is not necessary, but being able to see what we put forth in the job requirements part of the job post is very important.

>>4) How long should a reel be?

I find 5 minutes is a good target to show me what you can do. It can be longer but I may not watch much past 5 minutes. It’s crucial to put your best work first.

>>5) What format should it be submitted in? (DVD, Mini DV, etc.)

DVD is the format I prefer since I can just pop it in and check it out. I’ve never had the need for anything more – although if you want to send me in HDCAM that’s fine by me.

>>6) Are online reels a possibility?

Online reels are great.

My contact info is below – and in addition to running a company my day job is as Lead Editor for Outdoor Channel.

Hope this helped you.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Andy,

This goes down as the greatest post of the year so far. Okay, it’s early January so you might not think that means that much. But you just linked so many cool things some of which I had no idea one could do (that Quartz Composer light rays tutorial is wicked).

Thanks!

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Anytime you see an interlaced frame in progressive footage – then some type of pulldown pattern is being applied. I’m not super familiar specifically with the cameras you shot with and it’s possible pulldown was added depending on how you captured it… but it sounds to be like you’re going to have to manually remove the pulldown.

My only experience with manually removing pulldown was when I edited some stuff that was shot in 24PA on a Panasonic DVX-100. I didn’t remove the pulldown on capture (I captured it 29.97) so I had to use Cinema Tools to do it. You might have to use cinema tools or something similar – or possibly recapture depending on whether or not that was when the pulldown was added.

Good luck!

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Yup, time to hire an effects artist.

I just do happen to be one… :]

But no actually – I can’t see any way to easily do that. You will definitely have to endure some banging your head against the wall. It’s hard to say though without actually seeing the frame or frames in question. You’ll also need to do some motion tracking in the comp since you say the camera is moving. It’s possible… but not easy.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

You wan to do a batch capture of the clips and it will prompt you for tapes reel by reel and capture the footage that you deleted. It will automatically connect the footage after you’ve captured it.

Highlight all the clips in the viewer, or however many you want to do in the batch capture session and hit CTRL+C to bring up the batch capture window. Hopefully you payed careful attention when logging reel names because it’s going to ask for reels.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

The way you described works – but I don’t see the necessity in going from DVCPRO HD to 8-bit or 10-bit only to go back to DVCPRO HD. That seems like an unnecessary step to me. If there is a benefit in that I’m not recognizing it.

A DVCPRO HD master would be a high quality backup. Since you acquired and edited with that compression – you’re not going to gain anything on your video quality by going to a different format. One benefit of say… going to a higher quality format like HDCAM or HDCAM SR or something would be that anything rendered in final cut like graphics or transitions would be of the higher quality setting. So in that case, yeah going 10-bit would be better for those elements… but only by taking it to a format that has a higher quality than DVCPRO HD.

My advice would be probably just to render out your timeline and take it to a post house to get it on DVCPRO HD tape.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Are you setting the depth in after effects to use float space (32-bit?). I’m thinking that you need to not be working in 8-bit to preserve super whites. I might be totally off here – but have you given that a shot?

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Man, the sharpness and the resolution of the EX-1 is very impressive on all the screen shots I’ve seen so far. Good job doing this comparison.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Select one of the files in the finder, hit CMD+I to show info, and change the Open With dropdown to Quicktime (or alternatively you can try Final Cut Pro). Try double clicking and see if the files open and play in Quicktime. Then try them in Final Cut Pro.

Any help?

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University