Richard Herd
Forum Replies Created
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The audio solution in X (without leaving X) is easy. Apple just needs to listen (hahahaha)
From an audio mixing/mastering point of view, Treat Roles as inputs*.
Create a Roles inspector with the following grid:
Role name | Solo switch | Mute switch | Volume | Pan | Effects Loop | Auxiliary Send | Send
That’s the basic signal flow direction also (left to right); all of this entails the existence of a Master Fader (which is the default Send).
By using Compound Clips to do these things, X gets pretty good, but the organization is not as flexible (and less complex) than an actual mixer.
*Please note engineers have been mixing audio way before DAWs; that is, the familiar-waveform-track is not required in audio, but an input into the mixing board is required.
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[Jeff Markgraf] “MUCH bigger fish to fry “
yeah, that’s the thing. Everything seems great. Until the moment it isn’t.
Thanks for your information. It’s been very helpful and reasonable. For me, it seems, I will bug all clips with logo and schedule. It might take a bit of work, but seems right.
Thanks again!
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Thanks!
What about venues like conventions, where Charter sets up a booth, and the sizzle is running on the table: private or public?
Thanks again!
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[Brian Cheng] “if I could pre-render the After Effects comps in low resolution first then import them into Premiere to work with the edits”
Yep. That was the exact workflow that Dynamic Link replaced? The more things change. The more they stay the same!
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I’m reading the Aereo, Inc case currently. Here’s the Hollywood Reporter story https://www.hollywoodreporter.com/thr-esq/tv-broadcasters-ask-supreme-court-647849 and the case is linked at the bottom of that report.
Very interesting territory.
I’m making a pretty good living cutting commercials for Charter (the local cable provider). It’s cool and good work because a lot of the mom and pop shops just need some help driving business; they’ve got everything invested in the shop. I help sway commerce their direction. It’s very cool. I’m a part of a bigger sales team who pitches and closes (always closing) to the locals. The sales team needs sizzle reels of broadcast content that matches the potential demographic of the particular business. This includes every famous show you can imagine, plus every sporting event. In the past, previous vidiots cut the spots no questions asked, but I stopped the practice because it seems like copyright infringement. What say ye?
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[Shane Ross] “it appears that I’m wrong”
Yeah, it’s tough because the copyright holder licenses the public performance to the broadcaster under 17 USC 104. I cannot find whether and to what extent “promotions” are a part of that license agreement.
Surely it is, but I need some real proof…right? Wouldn’t you want actual proof? (Serious question.)
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[Shane Ross] “What EXACTLY are your intentions? And are the shows already licensed by the station you are doing this for?”
Intentions…to cut a promo video for the ad sales department. They pitch the sales buy to clients.
Already licensed? Yes. Definitely.
The lawyers are risk averse. They say don’t do anything without clearance, and it takes them several weeks to get back to me, and in the meantime, the sales department is very adamant.
I’m well aware that a copyright infringement means I’m in trouble, not just financially, but professional reputation also.
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[Shane Ross] “ask a lawyer”
Thanks Shane! The lawyer is very risk averse. In your opinion and your experience what about a case where there are many shows cut together with new audio (VO pitching the offers and stock music)? Running time of 2 minutes.
And one more…what about cutting the official promo from NBC (for example); instead of using the entire 2 minutes, it’s edited into a new timeline?
Thanks again!
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You’ll easily recover that when you cancel your 6-month workers comp premium after the shoot.
Well done!
And Congrats on the new client! -
[Greg Ball] “that covers all of our costs”
-20% 🙂