Shane Ross
Forum Replies Created
-
I don’t know what caused it, but the solution would be to not name sequences the same thing.
Look in your AUTOSAVE VAULT.
Shane Ross
Alokut Productions
http://www.lfhd.net -
Here, I have a full explaination all typed up:
#1 Transitions “Insufficient Content”
Shane’s Stock Answer #1:
You need to make sure that your clips have enough media (called ‘handles’) at the beginning of the incoming clip and at the end of the outgoing clip for the transition. For example, if you have a 1 second (30 frame) dissolve, your in and out point need to be at least 15 frames from the edge of the clip.
What you are running into is that you are marking an out point at the end of a clip then adding a cross dissolve, say 20 frames in duration. Since the dissolve is centered on the cut, it will start 10 frames before the cut, and try to go 10 frames AFTER the cut…which it can’t do.
What you need to do is plan how long your dissolve will be and back-time your cut so that it works.
For this, and other exciting stock answers, click on this link:
https://discussions.info.apple.com/webx?50@941.OTrRaOS9SEl.0@.68a3b883a full 1 second crossfade reaches 15 frames into each clip. So, if you want to change a cut to a crossfade, there has to be at least 15 additional frames of each clip.
Say you’re trying to crossfade from one clip into the very first frame of a second clip. FCP cannot ‘create’ 15 more frames of the second clip to do a crossfade. If they’re not there, you’re out of luck.
FCP has to extend the end of your first clip by 1/2 of your transition length, and the beginning of your second clip by 1/2 of your transition length, so those frames need to be in your system. The nature of a crossfade is mixing two clips together.
“There’s no need to fear, UNDERDOG is here!”
Shane Ross
Alokut Productions
http://www.lfhd.net -
I would capture thru a capture card as DVCPRO HD.
Shane
Shane Ross
Alokut Productions
http://www.lfhd.net -
Oh yeah…forgot to mention that I was working on starting a family during all this. Yes…I have three kids. That made it very tough indeed. Didn’t become and editor until they were all hatched.
Shane
Shane Ross
Alokut Productions
http://www.lfhd.net -
As I finally posted in that thread, that is how I got where I am. I started by cutting scenes on a narrative show. After that, and cutting a short film, I was in the editors chair.
In the documentary realm, I was first hired to cut Acts…then soon ended up moving to the Lead editor or Finishing editors chair. All due to practice and getting better at what I did. I first got a crack at it when the audio from all the Acts was ALL OVER the place. 4 editors and not one settled on a level. Since I knew audio well (chalk it up to mixing music and SFX as an assistant) I ended up cleaning up the audio, and doing the final pass. They liked my work and I have been a Lead or Finishing editor ever since.
But yes, the poor assistants have LOTS of work to do digitizing and organizing, but they have several machines to do this on and find the time, I’d give them some editing task. Let them try the tease, or take the first pass on Act 4 while I am on the first half of the show. The life of an assistant is tough. I lived it for 3 years…looooong hours, then adding more by taking editing on your own time. But, it does pay off.
At least in my case.
But I will add that some people are just great tech-heads and organization buffs, and don’t have the creative touch…and end up career assistants. I find nothing wrong with that either. As long as they are happy. I know a guy who is, and I’d hire him in a heartbeat if he wasn’t the main guy at this one company. He IS the man.
Shane
Shane Ross
Alokut Productions
http://www.lfhd.net -
I have to add my story to this thread…
I started out getting a film degree at Montana State University, in Bozeman. Yes, there is a film school there…turns out mainly crew, but a few pwople (John Dahl) made it big creatively. I studied to be a cinematographer, but also worked on lots of documentaries. My final project was a documentary that I edited on the brand new Avid the school got.
Then I moved to Phoenix to be with my wife, who was attending ASU. Production jobs down there are tight…and only every so often did I get work as a set Production Assistant. I had to have a main job, which started out managing a video store, but then I ended up at Apple doing phone tech support (this part is VERY relevant). I realized that I wasn’t going to get work as a camera operator without a reel…and I didn’t make one while I was at school and had access to equipment (they didn’t tell us about reels…dorks!). So I called the company that hired me as a PA and asked if I could use their Avid for a day in exchange for 2 PA days. The producer asked “Oh, you know the Avid?” There was a film crew in town that was looking for local hires (cheaper than flying a bunch of people from LA) and they needed an apprentice editor who knew the Avid, and had contacted them (they were also the office managing the Arizona Crew list) looking for people. So I went and interviewed. The Assoc. Producer said that I had the same qualifications as the previous 4 people who came in…what could I offer that they could not. And I swear, as if on cue the director’s assistant comes in with her Powerbook 5300 complaining…saying that it needed to be sent in for repair for she couldn’t have the 4 applications she needed open at once, and it kept crashing. “Mind if I look at that?” I ask. Soon I have it purring (virtual memory…heee) and I have the job. I am the Apprentice Editor for Oliver Stone’s U-TURN (uncredited…dang it).
That “grandfathered” me into the Union, but didn’t land me more film work. The editor who liked me (there were three) moved to Seattle, so when I followed the production to LA, and it ended, I had to find something. A college friend recommended me to work at a company as their Tape Librarian…as they had none and were in need. So I was hired and designed a vault database for them. I took an Avid course that didn’t teach me anything I didn’t know, but I met an editor making the transition from D-Vision and we hit it off (also another important plot point) Then I moved back to Arizona for a year. I moved to LA while my wife was STILL IN SCHOOL in Arizona, so I went back for her last year and did corporate video during that time (office managed, camera operated, edited). Then BACK to LA where I was recommended to take over the vault at AMERICA’S FUNNIEST HOME VIDEOS due to my reputation for creating databases…and theirs was in need. So I spent the following 9 months there. During that time I was looking for assist editing work without success.
Then another college buddy (got to love your friends) recommended me for a Post Coordinator position at a company that did History Channel shows. I also served as Assistant Editor in the evenings, and eventually was taught how to online on an Avid and on a Grass Valley system. After a year I got an offer I couldn’t refuse and left to assist on a TV pilot. It failed, but I met more people, and another assistant recommended me to assist on JUDGE JUDY. Worked there for 6 months…hated every stinking day. Then the editor I took the Avid class with offered me a job on a Disney Channel show and I leapt. While working as an assistant on that, I was encouraged to sit and watch as he and the other editor worked. And I also did all the TEMP music and sound effects editing for them…a task most assistants are saddled with, but is good practice for editing. Not only do we get to see how they cut scenes, but we get to add to them.
And on the SECOND SHOW, the guy said “Here, you take scene 6.”
“What?”
“Scene 6,” he replied. “I want you to edit it. Then I will give you notes, you address my notes and I will cut it into the show.”Oooookaaay. Well, I was off. I cut at least one scene from each of his shows, and when the producers came in, he challenged them to pick them out. The other editor ended up directing a couple episodes, so I got to take that time and edit a couple of scenes for him. At the end, I was sitting in the producer and director sessions and heard the notes they gave on my scenes. THAT was a big thing.
Mentoring…it is all about mentoring.
I then assisted on that and another show for the same company until I got 5 calls in 1 week to edit. Work long enough and you get to knwo people, and earn a reputation. Well, all the time I was assisting I was editing small films here and there, and another editor I knew liked what I did and hired me for a show he was producing. I ended up at that company off and on for just about 3 years now…but I am a freelancer and go from place to place, people recommending me here and there, or producers I worked with previously hiring me at the new companies they work at.
Then the company I assisted for and got to edit scenes for called me in to be the second editor on a show they were producing for Nickelodeon. Not only did they remember me and my cutting from a few years back, but I edited a film that was directed by one of their ADs, and shot by their DP…I was highly recommended.
Currently I am editing a History Channel show from my home. A producer I met while assisting on UNSOLVED MYSTERIES (one of the many many short term jobs I held) and worked with on a Discovery Channel show hit it off because of our love of the Mac computer, and Final Cut Pro. He landed a big project, and wanted to use FCP for it…and as I was his FCP guru, he hired me.
So I did the typical Hollywood route. PA to Apprentice Editor to Vault manager to Post Coordinator to Assistant Editor to Editor.
The main thing that we cannot lose is MENTORING. If you have an assistant, le them watch you (if time permits). The tough thing these days is that assistants all work at night and editors during the day, and the assistants are busy with their own stuff. Encourage them to edit something for the show on their own…encourage them to edit side projects and bring them in. Give notes…why something worked or didn’t work. I tell you, I learned more by my mistakes than anything.
REPUTATION. If you are a hard worker, and do a good job…and are friendly and fun to work with…you will be hired. If you are good, but don’t bath, or are a grouch…you won’t get hired…unless the Producer likes you.
Anyway…that is my LONG post.
Shane
Shane Ross
Alokut Productions
http://www.lfhd.net -
Take a gander at this article:
https://docs.info.apple.com/article.html?artnum=58640
Shane Ross
Alokut Productions
http://www.lfhd.net -
-
Only if the network wants to keep the footage (it is their right) and I know that footage on a few tapes would be useful for future projects. Otherwise, no, I don’t.
The ONLY place I worked at where they backed up tapes was AMERICA’S FUNNIEST HOME VIDEOS. Their funny video selects were dubbed from their source to BetaSP, then a dub of that beta was made adn send to a mountain vault in UTAH….in case California fell into the sea after a HUGE earthquake.
Shane
“There’s no need to fear, UNDERDOG is here!”Shane Ross
Alokut Productions
http://www.lfhd.net -
Adjust the gain on the Mackie (top knob) until they match.
Shane
“There’s no need to fear, UNDERDOG is here!”Shane Ross
Alokut Productions
http://www.lfhd.net