[Will Macneil]

Thanks for that. I like to do my colour smoothing in Shake where I can see exactly what I’m doing and make adjustments to the pre-processing whle I work on the key. So FCP is really just a capture tool in this workflow.

Thanks,

W

[Will Macneil]

Thanks!

W

[Will Macneil]

I think Dartfish can accomplish this. Have a look here: http://www.dartfish.com

I saw a demo where children would line up to kick at a soccer goal. After their turn, they ran to a video monitor which showed their kick just as they got there.

I think Dartfish comes in many shapes and forms, so perhaps there’s a specific version to do this.

Nice to see video being used to help young people rather than sell them something!

W

[Will Macneil]

Thanks Jerry. Can you actually ‘see’ the field order with the Matrox option? I deal with so many different field orders I need to see things interlaced to make sure I’ve got it right.

Thanks,

W

[Will Macneil]

You’re not using the ‘open’ mode are you?

W

[Will Macneil]

Thanks but I don’t think it’s to do with the pixel aspect ratio. The scale seems to be jumping to something ridiculous like 1024×800.

Anyway, looks like I’m making tiff seq’s for everything – how fun!

W

[Will Macneil]

Thanks Pierre. I had forgotten that the matte option in RSMB works before the motion blur is calculated. This should help alot.

Unfortunately, I working in Shake and it appears that SmoothKit is not available for this. But I think I can find another way to create some frame averaging.

Thanks alot.

W

[Will Macneil]

Thanks Pierre. I had forgotten that the matte option in RSMB works before the motion blur is calculated. This should help alot.

Unfortunately, I working in Shake and it appears that SmoothKit is not available for this. But I think I can find another way to create some frame averaging.

Thanks alot.

W

[Will Macneil]

In my experience the good editing jobs always go by word of mouth. Even the ones you’ve had interviews for may have gone to someone the producers already knew. They just felt it was necessary to do a few interviews. This has happened to me before.

So what does this mean for you?

For one thing make sure the clients who like your work are telling their friends. If I look back at my work for the last several years, I can trace all the jobs back to the one client who suggested me for a job. Also make sure that any editors who know your work are doing the same.

When you do start a job for a new client, remember that it may lead on to other jobs – so turn up sober for a week or two.

Get involved with an agency. Where I work (in London) there are several agencies placing editors on various jobs. If you have these in your area, learn about them. They may not place you on the most interesting jobs, but they can be very handy when the phone stops ringing.

One agency in London also runs fairly cheap training courses. I suspect these would be a good way to pick up some contacts (and maybe learn some set of FCP features you never knew about.)

You asked how you could follow up on jobs you didn’t get. We editors can be a shy bunch and we don’t like to push too much. The fact that you worry about this suggests that you’re one of the gang. You can probably afford to be a little more aggressive. And also, there’s nothing wrong with calling up a company who didn’t hire you and aking why they didn’t. They’ll probably give you a straight answer that might put your mind at ease. And after that be sure to politely ask if they’d keep you in mind for future work. Then just send them a new resume/CV every few months.

If all else fails, move to London! There are more FCP suites here then editors who can use them.

Good luck,

Will

[Will Macneil]

So it’ll do HDMI too? Nice.

W