Romeo Rubio
Forum Replies Created
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Mark, yes I understand that interest in the military should be more than a job search. I indeed would like to serve. Another con for this option would be that I’m am in no way shape or form guaranteed that particular job… Heck, I’ll most likely end up getting slotted into something else. Also the military option would be similar to the going home option in that it takes me away from LA and my chances of making it back to are against me. Although it’s good to hear at least one made it back (Andrew).
I really am willing to sacrifice, heck I just got a part time minimum wage job at a liquor store. I just don’t know how much longer I can continue to take in water financially. I’m growing impatient with not getting that first step; that runner or post pa type position which Andrew mentions. I can’t even crack into one of those. Once I’m at that point, I’ll be happy even though I’m doing random low level work, cause I know I’m on the ladder.
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Thanks for the reply Angelo. I’ll definitely check out The Editor’s Lounge.
You mention people who go back home and never come back. That’s definitely something I’ve been thinking about as well. I’m definitely in a complicated situation right now. I really hate that the decision has to be so controlled by finances but that’s how the world works.
As for the reel… I actually agree with you that it is quite smoke-and-mirrors-ish. Previous iterations of my reel had longer pieces, and each was discrete with original audio. Then I started looking at more editor reels, including top rated/viewed editor reels on the Cow like this one, https://reels.creativecow.net/film/tony-wise-picture-editor-reel-2010. I noticed they were more “organic”, “montagey”, and “flowy.” So I cut this reel to have more of that feel but I also tried to keep as many original sequential cuts from original content. To be honest, I believe that to fully gauge an editor’s ability a reel should just have full scenes and pieces. But these type of “smoke-and-mirror” types seem to be more successful at getting gigs (maybe more so for independent projects where directors and producers are watching and less so for actual studios). With that said, I think what I’ll do is to have that reel on the top of the page and have longer excerpts below it so people can easily scroll down and view them.
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Cool, I think I get it. Great tutorial Shane, very informative. Do you know if there’s a video somewhere showing the reimporting and rebuilding process? I kinda wanna see it visually.
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So let’s say I did use log and transfer, then started working on the project. Then the scratch drive fails. To rebuild everything, I simply open up the FCP project file, FCP will say files are missing (since the original scratch drive failed), ignore this and go into log and transfer, and transfer everything from the original media from the hdd or card. Once finished everything will be rebuilt, correct?
The reel number set in the log and transfer process is arbitrary, right? It’s something for my organizational purposes. So when I’m gonna rebuild a cut because of a failed scratch drive, do I have to put in the same exact reel number from the first time I did the log and transfer to have it work perfectly?
As for the timecode information, that stuff is in the metadata of the original media. So this is really what helps FCP rebuild everything properly.
So with a MPEG Streamclip workflow, Final Cut only has file names to work with when rebuilding/reconnecting so there could be some mess ups since files may have the same name.
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Definitely try to do the chroma keying in FCP first before you go to an outside program. Might as well stay in FCP if it works fine, right? I’ve had good results with FCP’s chroma keyer, even with uneven color/shadows on backdrops. Just gotta do some tweaking to the settings in the keyer to get the entire range of the backdrop.
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Well I started with the YouTube Preset but made some tweaks to it. For example, on the YouTube support page it says to have frame reordering deselected; on the preset it has it selected. The preset also has the frame size at up to 1280×720. I change that to 100% of source since I’m working with 1080p. I have Final Cut Studio 3. I guess it was before YouTube allowed 1080p uploads.
Back to my question, would you say that a data rate of 8000, in most cases, will be okay for 1080p? I want to be at a point where I am getting a little bit of overhead or only losing just a little bit of information. I am using this chart on this site as a reference https://support.brightcove.com/en/docs/video-source-file-specifications-and-recommendations. I just wanted to get some second opinions. I know it is different for each situation and that I should make different versions at different rates and SEE for myself. But again, I just want to know from a “in general” standpoint.
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Yes, deinterlacing is a must. Ricky you mention cropping from the top and bottom. There only seems to be a white line on the bottom. I’m guessing composer is justifying the image to the very top of the frame and thus the white line only appears on the bottom. It’s kind of weird that this white line doesn’t show up while actually viewing the footage in composer only when it is exported.
Does Squeeze give you an estimate of the exported file size?
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Michael, your article was one of the things I was actually referencing initially to come up with the workflow. The pictures I used were the ones from the article… So basically the only differences in my setup is the codec used and of course the project setting since the material isn’t HD. What would you recommend encoding the mpeg2 files into? Avid DV 50?
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Thanks for the link. I will download it and try it when I get back to my system. When doing this will I be encoding them in a Quicktime wrapper (“export to quicktime” on the task dropdown in Streamclip, and then chose the mpeg 50 flavor)? Or will downloading the codecs from the link allow Streamclip to chose a MXF Export in the dropdown? Thanks for the help.
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Unfortunately I don’t have Avid on the system I am working on. I guess that’s why it isn’t showing up. Is there some sort of add-on component that will allow me work with the Avid codecs you mention, something like Perian for Quicktime?