[Rich Rubasch]

I loaded ver 5.1 on a Tiger G5 Dual 2.7 non intel with ah LH and it completely solved my sync drifting problems outputting component to Betacam on long sequences. Just in time too!

Haven’t given it a good workout in AE etc, but for me, after uninstalling 4.0, it has behaved very nicely. But I had real sync problems outputting to Beta and 5.1 clearly solved them.

Rich Rubasch
Tilt Media

[Rich Rubasch]

I just output a 1 hour Betacam and the audio and timecode were out of sync by the end of the tape. I downloaded and installed the new drivers and output it again and it was perfect.

Just in time.

Thanks,

Rich Rubasch
Tilt Media

[Rich Rubasch]

If you have an old version of cleaner upgrade it to 6.5.1 and you can batch FLVs all day.

If you don’t, and have about $500 to spend, take a look at Episode Pro. Best rated all around compressor out there.

Rich Rubasch
Tilt Media

[Rich Rubasch]

Our rates are posted at http://www.tiltmedia.com but basically AE work is $150/hr Authoring is $125 and Encoding is $80. NLE SD editing is $175 and HD Editing is $225.

All posted conveniently on our website so producers can make a quick estimate without a phone call checking on our rates.

Rich Rubasch
Tilt Media

Editing since 1992

[Rich Rubasch]

Dimmers, dimmers, dimmers. Halogen lamps are a cheap way, but track lighting that you can adjust, and dimmers is the only way to go. We don’t backlight our monitors per se, but we do have small wattage lamps above our monitors splashing the back wall behind them….again, very low wattage so it is just a minor fill.

We like Ralph Lauren’s Studio Gray paint, available at Home Depot. We have that on the front and two side walls, and the back wall is a deeper almost gray blue just as an accent.

And of course, lots of album art frames with all my favorites from the 70’s and 80’s.

Like the Tubes “Love Bomb” and Pink Floyd’s “Animals.”

Rich Rubasch
Tilt Media

[Rich Rubasch]

Similar to either playing a cut with the sound off, or viewing it flopped, I have even disabled the sound, opened iTunes and played any internet radio station. If the edits are clean and work from shot to shot, you can put just about any type of music to it and it will still work, sometimes beautifully. I have shown this to clients and played anything from polka to alternative to funk, and it even amazes me how they all fit the cut.

Try it on a cut that you believe really works and you will have a good laugh. Especially when a polka track lines right up.

Rich Rubasch
Tilt Media

[Rich Rubasch]

As long as you don’t have a bunch of people hanging out around the decks, enable full control even when the deck is in remote. This way you keep it in remote all the time, put in a new tape, hit play and it grabs the timecode.

All of our decks are set with the control panel enabled in remote. We never take them out of remote (for the most part).

Beta 2800, DVCAM 1500, DVCPro 1200a etc.

Rich Rubasch
Tilt Media

[Rich Rubasch]

We bill for rendering…our editing rate is $175 an hour (SD) and our rendering rate is $80/hr. I only usually bill a portion of the time it actually takes. 2 hours might get billed 1 hour. I have a machine to do it, but I have software on it, monitors, maintenance etc, and the machine is working.

Believe me, comparing paint drying to a dual processor Mac running cycles to spit out a quicktime movie of my 300 layers is an insult to my Mac!

We also bill for Encoding…again depends on the project. Most projects have both rendering and encoding and we put them in one line item on the invoice.

There are certainly other service industries who charge for machine time. I consider rendering sort of renting a machine for a short time. It is configured specifically for the job and it costs me money to maintain. But since it is not my primary income, I don’t go nuts with billing for it.

I have never had a client ask about it. The only questions are usually about the grand total at the bottom of the page!

Rich Rubasch
Tilt Media

[Rich Rubasch]

Aha! Yes I do! So, what’s the deal with those? Causing the problem? Not near the machine right now but real curious.

Rich Rubasch
Tilt Media

[Rich Rubasch]

If the clip is offline you can add a couple seconds to the in point, which will shift the out point and try to capture that way. Another way is to capture now again as close as you can and re edit the new clip into the sequence.

The best way would be to re-log and digitize the clip with as much of the clip as you can grab with the pre roll you have and re cut the thing into the sequence. This will fix it for future re edits.

Rich Rubasch
Tilt Media