Tony West
Forum Replies Created
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Wow, sorry to hear. I have had my film on their Vimeo on Demand for years as an alternative to amazon Prime (90% watch it on Prime) just wanted a second option. I haven’t received any notification from Vimeo about this change at this point. I’ll keep an eye out.
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I will third Screenflow : ). Nice options in that little program.
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I actually mostly do it that way also (quickly) unless it’s a big enough job that the client works out the permit. The time-lapse is super gutsy. I notice a lot fewer Park Rangers these days. I don’t know if that’s budget cuts or what but it’s been easier to get shots in the past few years around here. The last time I shot I seen saw a homeless person in the park which was something that they never allowed back in the day. I figure if you aren’t after that person I’m likely going to get my shot, but I’m still afraid to start a TL : )
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Hi Bob, having shot on federal land for years, I can share with you, how the tripod rule and its history came about, as it was explained to me. Years ago I wanted to shoot inside The Old Courthouse (famous for the Dred Scott case) in St. Louis. I knew about the permit rule as I have shot on the Arch grounds that sit near by, for years. My plan was to just walk in there and get a quick shot of the incredible dome and then get out before anyone even noticed : ). To my surprise, as soon as the tripod’s feet hit the floor, “Poof”!!! A woman appeared seemingly out of no where and said, “ You need to speak with Ms. so and so before you record in here”. OK, I said, let’s talk with her. She led me to her office and Ms so and so was very nice and presented me with a letter from Congress. It essentially said that, a member of Congress (I don’t know who) had noticed that production companies had been doing full productions on federal land for free. The member said, “if they were filming on private land they would have to pay, so they should have to pay the government also.” Not as much, but I think they arrived around 300 bucks. They then would have to of course determine who was a Pro and who was a tourist, and they kind of seem to use the tripod as the marker. They haven’t really kept up with the changing technology over the years, as this was passed long before people were shooting video with phones and DSLRs on stabilizers for professional jobs. So there you have it. I thought you guys might find that history interesting, I know I did that day.
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OMG, Glenn. You are taking me down memory lane with “Dubner”. Hadn’t heard that in years. I used to fly Grass Valley’s DPM 700 “DVE” back in my TD days. As far as that side panel graphic, not sure. Seems to me that “Pardon the Interruption” on ESPN popularized it years ago. We have large vertical studio side panels on set that we can put video or graphics into, on the side of the talent. That looks like a more economical version of that set-up to me.
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Hi Daniel, with a Multicam/multichannel clip in the timeline, you should be able to select that clip and select “expand audio components” and see all of your audio tracks and adjust them and even add filters to them separately. You should also see them in the inspector. Are you not seeing all the tracks when you expand the components?
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I have not seen the issues that you have listed here, but I have seen some random bugginess from time to time. Odd behavior on keys dropped in the timeline then command z and it works the next time? I’m running Cat 10.15.7 and X 10.4.10. I feel like at this point the pattern is going to always be, fix something something else breaks and repeat. I’m holding off on any updates for a bit unless something major is not working.
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Hi Jim, as Live Sports is a big part of what I do, I was getting prepared for huge changes as I really didn’t believe sports could overcome this for a long time. I was wrong. Sports figured it out and I returned to work inside the bubble. Sports has shown society the way forward in the past (Jackie Robinson comes to mind) and I believe it’s doing that now. MLB, NBA and NHL all completed their seasons, so the lesson I took from that is, you can beat this thing if everyone is on the same “team” and page. So rather than change what I do, I’ve focused more on HOW I do what I already do. If we can pull off these massive sporting events with over 100 cameras surely smaller productions can be done safely also. When I work outside the sports bubble I follow the rules as if I’m still in it.
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The best program I know of for something like that is Izotope RX. You would need to spend some time with it if you haven’t used it. It really depends on how bad the barking is and if it’s over the person speaking.
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I hear ya, but some things really don’t have much to do with style. There is a loud bang in the background and you cut it out. You’re going to close that gap at some point. What editor would leave a hole there in the timeline? that’s something that every editor is going to do and doesn’t have anything to do with style. One thing I liked about Pr was that mixer. I had forgotten what it’s like to use it and I think that’s a more efficient way to mix sound. That was one of the few things I found more efficient than X. Building things through a sequence in the other three works well because it’s designed more to be used that way. X is designed to use favorites in the browser like you said, and that part is indeed style.