[Richard Herd]

https://en.wikipedia.org/wiki/Scheimpflug_principle

I was fortunate to play with a Scheimpflug camera because one of clients is a photography guru. Amazing how the focus plane is not parallel to the film plane. His camera was 4×5 and was technically capable of attaching a film/video sensor but the cost was prohibitive. I think the rack focus look would be amazing.

edited out a type-o

[Richard Herd]

[Simon Ubsdell] “I do think there are structural problems with implementing it”

Hmm. Disagree a bit. You’d think a separate project and event would make the ganging sync easier. Granted, I rarely use it. Which is why I’m hoping to learn new technique and style of editing from you 🙂

[Richard Herd]

[Simon Ubsdell] “Gang Sync are the two things”

Please discuss Gang Sync and how you use it…maybe it’s a question more for art of the edit forum, and not this one.

Thanks!

[Richard Herd]

[Andrew Kimery] “built up a enough of a track record”

There are no tracks! 😉

I know LA editors using X, but they keep it on the down-low.

Avid’s IT controls are pretty much beautiful, and that’s a big deal. Events, Project, Libraries are close. I would be curious the IT permissions (read/write) on X’s “stuff,” whereas Avids pretty much guarantee picture does cannot get leaked before release.

And really that brings up another question about LA freelancing: to what extent are you trusted with material that waits for release? For example the latest cut from the Bachelorette or American Idol and so on. What controls are used so that nothing gets leaked?

Thanks!

[Richard Herd]

Bad news: I don’t think you can. 🙁

That’s why they have the Project Manager setting.

I’ve checked through the prproj file by right clicking and opening with TextEdit (mac) Notepad (win), and I could not see it; however, I did not spend that much time on it. You may have better luck.

I would also post in one of the debate forums and hope Kevin or Dennis chime in, maybe even call them by name.

Good luck!

[Richard Herd]

See the advanced settings? Click the checkbox and set it to 15.

They call it keyframes in compression, but it’s not like keyframes in animation.

In compression you have a series of Intraframes that sets where all the color data are. Following the intraframe are the B-frames and P-frames. Long story short: these are the data that changed from frame to frame. So…

The closer the key frame distance the “more better” the compression but the higher the file size and bit rate.

MPEG2–the old school DVD setting is 15 (or 1/2-second).

That’s the first thing I change when the compression looks wonky. If the file size is too big then I move the target bitrate and max bitrate.

When you find a special sauce that you like, be sure to save it as a preset!

EDIT: Be sure to search help for compression markers also. Here’s why: you can force an I-frame. That’s important because when clips are next to eachother they may interfere with the I-frame to B-frame scheme. Maybe an example is easier: I cut a short film that took place at the beach. The characters did their thing, and then it cut to a shot of the ocean receding, but that receding shot always looked bad, until I put a chapter marker (actually it was Final Cut from a compression break, but same thing I believe), and since it added the I-frame data at the begining of the receding ocean all of the gloppy-chunky gunk was fixed.

[Richard Herd]

I’m off tomorrow! Today is cocktails for me 🙂

[Richard Herd]

When you transferred the files, did you delete the old ones?

[Richard Herd]

[Dan Miraie] “I can’t seem to get a clean export,”

There’s no simple way to diagnose this. It could be as easy as the correct export preferences, or as complicated as bad gpu.

So what exact export settings are you using?

[Richard Herd]

[Euan Preston] “How do I get my nested sequence to place both audio channels into my edit sequence?”

My understanding is “you cannot do that.” But in the preferences there is Audio Output Mapping. That may help, but I don’t know.

It might be the case you need a different workflow that includes exporting OMF and fixing in Audition and then exporting back to sequence. Taking a step back, why are you nesting sequences?

Almost always the nested sequence is a fine cut (or very far along rough cut) that lays into a program sequences, where the nests are Act 1 and Act 2 (for example). This allows editors to cut each piece separately — the way to finish and roll up the Audio Output Mapping in the final sequence into either a stereo pair/mono (not really done)/surround.