[Rory Brennan]

I prefer to have all footage the same codec (Avid mentality, I guess). When I work with XDCamEX I log and transfer it in as ProRes 422 HQ as I feel FCP works much better with this than the original codec. Try that.

Mixing the 8bit XDCamEX and 10-bit blackmagic doesn’t necessarily explain the “geen frazzled” issue, but PR422 HQ can be 10-bit so hopefully this will resolve that issue. Could be some serious rendering involved though if your quality settings are too high as the XDCamEX stuff will at some point need to convert to ProRes.

RB

Rory Brennan
Editor
New York City

[Rory Brennan]

Maybe just export a normal “same as source” QT out of FCP. Then open that Qt is QuickTime 7. You will be able to do QuickTime conversion from there – and it won’t crash FCP because you will no longer be using it.

RB

Rory Brennan
Editor
New York City

[Rory Brennan]

Make a copy of everything, then give him the footage, without your project. Given he didn’t pay you, you are under no obligation to give away your hard work. (This alone might make him change his mind).

Also, once you’ve got him off your back… keep cutting. You still will have all the footage, and will be able to satisfy you desire to cut a film. Probably don’t tell him though and if you put any of the film on your site, maybe say it was a spec job.

I know that this isn’t the most honest thing to do, but many people build careers from cutting already cut spots, or unlicensed music videos. As long as you then don’t release the film, I don’t feel it’s a big deal.

Rory Brennan
Editor
New York City

[Rory Brennan]

I don’t have either certification, will never get either and can proficiently use both programs.

Why would someone ask for 8 years of experience and think that in that time, having certification would matter. If you cannot cut with Avid or FCP after 8 years, who cares if you are certified.

So why are they asking for it? Are they an inexperienced setup who thinks that this is what is required of a good editor?

I guess the solution would be to address the lack of the certifications in you cover letter and explain tat your years of experience outweigh any additional information you could possibly learn in one of those certification classes. Let’s face it, if you’ve been using Avid professional (and consistently) since 1993, you might as well go teach the Avid certification.

Rory Brennan
Editor
New York City

[Rory Brennan]

The freelancers we use are about $60-$80 /hour. This is editor only rates. However I have seen some real incredible editors negotiate $100-$120 for specific jobs. Some of these included remotes which also included a per diem, so big money on that.

I have a friend currently getting $4000 /week doing only about 38 hours/week. He got this all upfront too. But he’s hot property in NY at the moment and can get away with that. Also, he’s lightning fast so if the work gets done he can go. The editor doing this gig last year got the same pay but was taking 60 hours/week, so obviously his rate was less.

These prices though are for higher end Network and Cable stuff work, just so you know.

Finally, I have seen the whole “work out your costs” approach, but I believe in taking that always with a grain of salt. If I want to work 1 day a week, I need to charge an hourly of $200… New York is a market that you can only dictate your rate based on client base and TALENT. If you are no good you can not ask top dollar. You won’t last a second. Also, if you have no client base you might need to suck it up and take less, even if that rate doesn’t meet your “Survival” rate. Because at times, working for less is better than not working at all, especially at the moment.

Rory Brennan
Editor
New York City

[Rory Brennan]

Maybe not the best example, but I’ve always loved this. Very easy to do.

https://www.youtube.com/watch?v=SO3X13WA1a4

Rory Brennan
Editor
New York City

[Rory Brennan]

Great work Chris.

I think you can do some little things just to tighten it up a bit, without having to invest too much more time. The edit feels a little loose, but performance in contributing to that so not much can be done. – quicker dissolves too. I would also recommend flopping some of the nurses to vary the positions they are standing i, but then their badge would read backwards.

If you made the color correction a bit more vibrant it would help – greater consistency through shots too.

Also, the sound mix feels too empty, maybe lifting the bottom end a little will help, anything to fill out the frequency range because it’s all very high and mid frequency at the moment.

I feel these are just little things though, as overall, as already mentioned, it’s a good spot.

Rory Brennan
Editor
New York City

[Rory Brennan]

Tom,

Thanks for the quick response.

We send schools files capture in FCP using the HDV 1080i60 codec. (So despite the limited capturing ability, no capturing will be required, just importing). Given what you are telling me, can FCE even read this codec?? Furthermore, If it can read this codec, does it transcode the files to AIC?

Thanks again,

Rory Brennan
Editor
New York City

[Rory Brennan]

Caton,

You might have a hard time convincing your producer of this but they are unlikely to see any difference between 145 and 220. Mostly ego says otherwise. Furthermore, your system is unlikely to handle anything higher than 220x.

Finally and I believe most importantly, DVCPro HD is a rough equivalent to DNX100 8bit (if it existed), thus 145 is the best quality your going to get. Anything higher will not improve the footage.

RB

Rory Brennan
Editor
New York City

[Rory Brennan]

Clint,

I’m afraid that isn’t it, but it’s a great article so I appreciate it anyway.

Cheers,

Rory Brennan
Editor
New York City