[Rich Rubasch]

Somewhere along the way the clips were flagged as 16:9…check the columns in FCP and see if one of them is setting the clips to 16:9 anamorphic. Some colums allow you to change the setting for each clip and some don’t. Change them back to 4:3 and all will be well.

Rich Rubasch
Tilt Media

[Rich Rubasch]

I love to ask them the question “How long is a piece of string?” It can be many lengths, of course.

I would start by setting up a meeting to get an idea of what they want to do. Have they already produced other shows? Is this a public access show, or a show they hope to sell to the cable outlets? Is it a project you want to work on?

I suppose I would formulate many questions in my mind before the meeting and then go in there and plan to do a lot of listening.

Rich Rubasch
Tilt Media

[Rich Rubasch]

Got it…all is well.

Rich

[Rich Rubasch]

Yes, I can see Windows Media in the format pulldown, but it did not specify if it was the Flip4Mac WMV9 that it was using…it was kind of flying in the dark.

I also could not see the Windows Media format choice in Compressor 2. I’ll take another look.

Rich Rubasch
Tilt Media

[Rich Rubasch]

Sounds like the bottom of an “o” is sort of flat, like the bottom couple pixels that make it round down there are gone.

What size is your Photoshop file? Is the text rasterized?

Here’s my workflow/; Make the PSD file 720 x 534. Build all your layers. Do not rasterize type. When everything is done do a “Save As” and name it 480 final or some other name. Change the image size to 720 x 480 not constrainign proportions. This squeezes the type to the correct size but keeps it vector (clean).

Now you can collapse your layers or rasterize your type and it should remain clean.

If you’re PAL file sizes are different, but you get the idea. In the end you will end up with an unsquished file that you can edit your type and resave and resquish if needed for revisions, and the squeezed one is a copy with the type that was squeezed in vector format and rasterized for use in the final menu.

Rich Rubasch
Tilt Media

[Rich Rubasch]

Oh, and get a copy of the book “Inc. Yourself” written by Judith Mcquown found on Amazon for about 10 bucks. Best 10 bucks you’ll ever spend.

Rich Rubasch
Tilt Media

[Rich Rubasch]

First, do you have a second editing system? Do you plan to hire and buy a new system? Are there other freelance editors in your area that have systems and can pick up some of the easier work? Do you forsee this onslaught of work to continue, or is it possibly a temporary spike? Do you have any way to gauge this?

Kind of need mor info on what your plan might be and what you are up against.

Rich Rubasch
Tilt Media

[Rich Rubasch]

These are not plug ins but work great in AE and they are CHEAP!!

Go to http://www.detonationfilms.com

Great collections of smoke, fire and explosions for next to nothing.

Rich Rubasch
Tilt Media

[Rich Rubasch]

Do you guys who are truly independent focus on only a couple post production disciplines (editing and graphics) or do you try to do turnkey production, by being writer, director, camera, sound, editor, graphics etc? I have heard legendary tales of these types, but they are probably not too great at any one thing.

I have focused on editing, graphics, animation and DVD creation for video (mostly corporate, some spots) for the last 5 years and I have had a steady increase in business. On a few projects I farmed out for 3D animations or some AfterEffects work if I was tied up in the edit. It has worked out well.

But I still work out of my home. The numbers look good and the hours are cenvenient since I am at home, so changing all this to get a more public space in an office and still be the one-man shop doing the same things seems wasteful. At the same time I’d like to give the community the impression that my company is growing up…perhaps that is not so important if what I have is working and the books seem to indicate that it is.

I am 43 years old so I have a good 20 left to go. Do I want to retire as a one man shop, or a respected creative house with a great creative staff….and sell it to the highest bidder?

I am wrestling with my own transition and what it will be. I have been approached by a few small post houses to move my gear and really my company into their space…it never compelled me enough to do it. I’m glad I did not. I leave my options open, however.

I also don’t want to approach successful creatives in various disciplines, like a director, cameraman, sound guy, writer, and web guy and propose that we all move into one big happy office space to consolidate our resources and work more as a team to optimize our talents…and perhaps sell more. Too messy.

I live in Madison, WI which is not a major market by a long shot, but has some large corporate headquarters, a University system, plenty of medical and tech companies to provide me with lots of work. and my clients are great, if any of you are reading this : )

I have not had one complaint from a client about the home office and everyone is comfortable here, as am I.

So, I know somewhat how you feel, Tim…because change is change after all. Whether it is change for the better, always remains to be seen.

Rich Rubasch
Tilt Media Inc.

[Rich Rubasch]

So, are you looking for a particular suggestion, or do you want to hear our stories of success or failure? Being in-house with another production company always seems to be short-term to me. It works for a while and seems like an easy way to go, but soon the politics of the post house makes you a little less “independent” after all. Soon you begin dreaming of really having a handle on your schedule and projects and there you are faced with another decision altogether.

So what would you like to hear from us?

Rich Rubasch
Tilt Media