Shane Ross
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Yup, on 10.11.6 as well.
Video card? The stock one that came with the machine. Also have a MOJO DX connected, and connected to ISIS and NEXUS via ethernet. Strictly an offline solution, for sure.
Shane
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[Bill Davis] “Shane. If you’ve got budget enough for a SD to LA train ticket and maybe some couch space if it takes overnight – I’d be happy to come up for a day or two and see if I can ease you into X. “
I lack the time. I’m going to have to slowly ramp to it by using it for family videos, watching tutorials and the like befoer bed. I barely have time for the family vacation this week. But thanks
Shane
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Yes, we have about a dozen of those in our company, but we are running 2018.3…as 2018.4 caused problems.
just make sure you are running a compatible OS. Avid is more flexible with hardware than people might think…
Shane
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[Bill Davis] “Someday, maybe it won’t matter where an editor is physically located — but today, it definitely still does. : )”
Not really. Over the last 5 years I’ve been cutting a broadcast show where the production is located in Virginia, and I’m in LA. Brief lull for 1 year as they had one series cancelled, but two more picked up. I simply send them a bin of the cut (this is Avid) and it automatically links up to media on their end and they can watch, or I upload a cut…whatever.
I have cut docs from home, and gone into the office only twice a week in Los Angeles. I know many editors who do the same.
The only shows that really require you be there are ones with TONS of shared media. And even then, there are exceptions to the rule.
Shane
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I have no problem with that ad…They want someone who knows FCPX VERY WELL. No different than needing someone who not only knows Avid, but also Sapphire effects and how to make VFX in the show yourself. Or needing to know Premiere Pro inside and out. This is normal. There’s one company that I’d LOVE to work for, they do shows I really admire. But I can’t work on them because I don’t know FCPX…which is one reason I’m going to give it a fourth go.
The only issue I have with the ad is that they don’t give one hoot about your CV (resume). They don’t care what you worked on, well, I guess they do..they want to see a reel, and that will show the STYLE of things you work on. I would have said all they care is that you KNOW THE TOOL….which is an odd thing to only require. BUT…they did ask for a reel, and that, pretty much, is a resume. Shows the type of shows you worked on, and the cutting style. ALTHOUGH…how do they know that you cut those shows on FCPX?
Shane
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[Bill Davis] “Heck, Shane and I even sat next to each other among the 40 post-party attendees, and shared pizza and had a really nice chat. (Maybe that pesky in-person human connection stuff really is the antidote to much of the internet squabbling we all too frequently find ourselves mired in!)”
Yes…in person interactions are crucial….as you can hear inflections in the voice and see facial patterns. Everything here and on social media is cold impersonal, and can come of completely different than you intend. Bill and I were instantly friendly and stayed so. And talked a bit about aliens (the outer space kind)…
It was a good meeting.
Shane
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[Rick Smith] “1) Converted footage from 23.98 to 25. Duplicate frames were added. “
Yes…going from 24 to 25…and maintaining the same duration, will result in one repeated frame every second.
[Rick Smith] “2) It needs to be converted again from 23.98 to 25 but without duplicate frames.
3) Will the newly converted 25fps (without duplicate frames) footage match in length the originally converted 25fps (with duplicate frames) footage? “
No…it will not. To convert 24 to 25 without duplicate frames means slightly speeding it up…CONFORMING the 24 to play at 25. Doing this will make the clip longer by a couple frames, and will change the pitch of the audio, that will need to be adjusted. So yes, this will mean that those particular clips will have to start earlier, or end later, and audio will need to be remixed.
Shane
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Just target it to the track you want..I’m not sure I get the problem. You can patch any source video track to any timeline track you want.
Shane
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[José Luis MartÃnez DÃaz] “Rest of the material was directly imported by the editor. “
How were the files “imported” by the editor? If they dragged into a bin, or used the FILE>IMPORT option, then they did a very wrong thing. That won’t maintain any of the source timecode. Only AMA linking, or in later versions, using the SOURCE BROWSER to link to the media, and then transcoding will maintain any of the original timecode. But then you also, in many cases, need to add a REEL number or TAPE ID so that you don’t run into issues with repeated clip names and timecode. Do this modification to the linked files, before you transcode.
Yeah, just importing will mean maintaining near zero of the original materials metadata, making relinking impossible.
Shane
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[Neil Sinclair] “Did anyone else use a Paltex Esprit Edit controller in their linear suites?”
My mom.
😉
Shane
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