Scott Cole
Forum Replies Created
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Alternately, just hold the shift key when you want to scrub audio as you are stepping through video. I’m not sure it makes a difference any more but in older systems with less powerful systems of days past, leaving the audio scrub on (via capslock) would slow down the application. I also personally don’t care for things typed in ALL CAPS as a routine, I find it harder to read.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
I believe charlex’s claim to fame was their use of IVC 9000 HELICAL 2″ VTRS. The machines were probably the best analog tape machines ever, or at least their time. Their S/N ratio was incredible which made for great layering. They also had no banding issues.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
The A62 was not an editing machine at all, it was a graphic layering device. Many people used it in an online linear edit suite, especially before the advent of digital VTRs and switcher combos made it obsolete. It was one of the first devices that allowed you to remain in an all digital environment (albeit very small) adding layers upon layers without any analog generational loss.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
I’ve run into this same problem on occasion with voice tracks. Since voice is typically really just dual track mono, i.e. the same voice on both tracks, I typically find it easier to to pitch change just one of the source tracks and then put that on both tracks of my timeline. Actually in my case, on 60 MINUTES, for our studio material, we spread voice over left, right and full level center track, so for this purpose, I do the pitch change on the center track and then spread that result out to left and right.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Julie,
Assuming you have a clip of black somewhere in your system, just load it in your source monitor, mark an in point, enter +4:29 and mark an out point. This will give you an exact duration of 5 seconds and zero frames (assuming a 30fps project). Then just edit that black onto the end of your timeline.M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Any sequence can be either drop or non-drop frame. To change the mode of the sequence you simply need to change the starting timecode of the sequence. First either find or create a bin-view with “START” (or some variation, I’m not in front of a Media Composer at the moment). The industry standard for Dropframe codes always contain semi-colons (;) while the Non-Dropframe codes contain just colons (:). This is actually easy to remember as the Dropframe code has the punctuation that drops down while the Non-Dropframe that doesn’t drop down. Modify the timecode as you need it and hit enter but you must click on the affirmative when it asks you if you want to change the starting timecode as the default is to not change the code.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Terence,
Thanks for the info, not what I hoped to hear, but that’s life.Grinner,
I’m trying to do something a whole lot more subtle than that. If you watch 60 MINUTES you know we open our show with a tease within a “magazine cover.” Of course that cover is the opposite aspect ratio of how every other TV shot is composed. In addition to that, we have the 60 MINUTES logo covering a good part of the upper left corner of the video. Some shots fall right in with no problems but many shots require a bit of tweaking, stretching out the top of the video without stretching the rest of the shot, so as to leave guests eyes below the word MINUTES. The other issue I often face is two shots of interviews with the correspondent and the subject separated by a large gap. I was looking for an elegant,yet subtle way to horizontally compress that space while not compressing the two principles in the shot. “Content Aware Scaling” seems like a great way to do this, however I also deal with production people who have a certain way of wanting to work, and I’m not sure that importing the shot out of Avid, processing and then re-importing is something they’d have the patience for, so that’s why I was hoping for an AVX plug-in to do the trick.M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Hence using a second digibeta just to record each layer in clean tape as you kept pre-reading. Always give yourself an out.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
2″ editec…. wtf is an edit list??? Oh that yellow pad a Production Assistant brought to the tape room.
M. Scott Cole
Senior Post Production Editor
60 MINUTES
CBS News, NYC
sc6@cbsnews.com
mscottc@comcast.net -
Any idea when we will be seeing this?
Scott Cole
60 Minutes, NYC