Archive for category Post Production Workflow
Playing DP and Good Tips in the realm of the Digital SLR
Posted by Bryce Randle in Blogging, Post Production Workflow on March 1, 2010
Miami, Florida sunrise. Taken with a simple portrait lens.
I haven’t jumped on the bandwagon enough to buy my own Canon 7D or any other DSLR with HD video capabilities. I have edited several short pieces for a client using the 7D workflow and while I have to say that the video looks amazing, that isn’t what this post is about.
Nancy (my wife/business owner) and I went to Miami, Florida to do a shoot with her taking hold of still photography and I taking an EX1 and playing DP for a few days. It’s always a great experience to get out of the edit bay and shoot something yourself. It not only gives you a reason to get out of the solitary confinement that is your edit space, but you can put into practice the best techniques you have learned from just watching through footage (all my clients love the rack focus… about 90% of the time). I get a bit more respect for the DP while out shooting because I can never get something to look exactly how I want it to when it comes in from certain DP friends of mine.
Popularity: 25% [?]
The Editor Answers: Daryl Baskin. Star Trek TNG Editor.
Posted by Bryce Randle in Blogging, Narrative, Post Production Workflow on February 25, 2010
Here are my answers to the 5 questions that I read on PostFifthPictures.com. If there are more, just let me know. In some cases I should call the VIZ FX team…but I will give this a shot, first. If you have any questions about my answers, please let me know.
Thanks,
Daryl
Popularity: 92% [?]
Why I Love Clip Colors
Posted by Bryce Randle in Blogging, Film | Video Editing, Post Production Workflow on January 13, 2010
I love the clip colors feature in Avid Media Composer. It is so helpful. If you haven’t ever used it to its advantage, check it out.
From the hamburger menu in the bottom left corner of the timeline, select clip color. You have several options. The ones I use the most are HD/SD and offline.
I have this sample project open. It’s an SD project so I changed the settings to 1080 (HD) and then I turn on the HD/SD setting in the clip color. I can now see all of the titles stay one color and the clips become highlighted in yellow.
Popularity: 76% [?]
Interview: Darren Holmes, A.C.E.
Posted by Bryce Randle in Blogging, Film | Video Editing, Guest Speaker, Narrative, Post Production Workflow on January 5, 2010
Darren Holmes, A.C.E. is an editor that has been around feature films, television and animation editing. In this respect I think he is a rather unique editor to have come in contact with. There are not many walls keeping him stuck into one genre because of his experiences.
Interview: Darren Holmes, A.C.E.
His resume includes; Read the rest of this entry »
Popularity: 44% [?]
An Experience with Final Cut Pro, After Effects and Gamma Issues
Posted by Bryce Randle in Blogging, Film | Video Editing, Post Production Workflow on January 1, 2010
I’ve put off writing this entry for about three weeks because it was such an awful experience for me. I just finished a documentary and for the SEO sake of it I will refer to it as Hockey Doc. Overall it was a great experience. I finished the edit, locked picture and sent it off to Technicolor to get colored. It comes back, looks great and I plug in the newly colored version into my sequence. While editing the project I created these left or right third graphics that gave biographic information on each of the players, coaches and the others interviewed. So I took the raw file (before color correction mind you) from Final Cut Pro, exported the 7-10 second clip, imported it into After Effects, animated the clip in and out (see the example below) and then spit it back into my Final Cut Pro project.
It all seemed to work really well. That wasn’t the case though.
I got my colored version back, spit the new color corrected versions back into my After Effects compositions and then exported again. I rendered for DVD output using compressor. I burned a master DVD of the project in DVD Studio Pro. It should have just worked, right? Well it didn’t. The color of the After Effects clips would change slightly, becoming a little darker. The graphics also did not slide smoothly across the screen either way. Now normally I would spend a lot more time trying to fix the problem, but I had a deadline. This was on a Tuesday and it needed to be back in Valencia, California on a Thursday morning at the latest. I ended up staying awake until 4 AM trying to figure the issues. Here are a few steps I tried.
Popularity: 62% [?]
Don’t Think I Don’t Watch My Footage
Posted by Bryce Randle in Blogging, Documentary, Post Production Workflow on December 23, 2009
Bryce: Every once in a while I find myself a tad bored in a project, so I look through my footage for an answer. And then there is a clip. A fun clip. Not because of the footage, but because I listen to the hilarious off-camera conversation between the DP, director, and/or other people involved on set. While freelancing on a recent project, I caught our director talking with Cole Webley (our DP) about another editor on the show. That editor is Mark Gillins, our production manager and editor with Post Fifth Pictures.
Mark is joining me on this post to give us some background. Tell us a little bit about the background context of this conversation and a little bit about the director.
Mark:
Popularity: 11% [?]
I Will Judge You By Your Sequence
Posted by Bryce Randle in Blogging, Film | Video Editing, Post Production Workflow on December 17, 2009
This is the sequence that inspired my post. I should add that there is no compositing on this timeline and most of the titles are included in the after effects rendered movie files. It isn't the worst I have ever seen, but you get the idea.
As a freelance business, I visit many offices from which I have received a problematic phone call. “Our in house editor is sick/vacation/doesn’t work here anymore/gave up/ran away and we need someone to come fix, um, I meant finish our production/broadcast/video for us.”
Learning on Avid and Final Cut Pro nearly at the same time taught me a very important lesson about video tracks. Get rid of them. If your show is going to color correction especially you don’t want to send an EDL to the colorist with 6 tracks of video with 70% clips that don’t need color. It’s a bad habit.
Popularity: 100% [?]
Making a Music Cue Sheet
Posted by Bryce in Post Production Workflow, Producing on November 25, 2009
As an editor, you may or may not deal with a music cue sheet. Usually your music supervisor will help you out with this, but on lower budget shows where you may use stock music or tracks from an online music library, you have no one to turn to. Take a look at this music cue sheet from ASCAP. You can download the excel file model they have and use it on your own productions.
You can also find the link here: http://www.ascap.com/musicbiz/cue%5Fsheet%5Fcorner/
Popularity: 1% [?]
Stereo 3D in Sony Vegas
Posted by sethestrada in Blogging, Post Production Workflow, Producing, Visual Effects | Graphics on November 17, 2009
To view the tutorial with pictures, download the PDF.
So, where to begin? Well, you begin by shooting the footage perfectly in the first place. The old saying, ‘An ounce of prevention is worth a pound of cure’ applies perfectly here. But if you haven’t shot it perfectly, Make3D has plenty of widgets to help you adjust it until it looks perfect for your final output, and Sony Vegas Pro has all the horsepower to make things run smoothly while you edit and composite simultaneously! Be sure to have installed the latest version of Vegas Pro Non-Linear Editing software from Sony Creative Software, and then download and install the latest version of Medtron Make3D, made exclusively for Sony Vegas Pro.
Popularity: unranked [?]
Compressor Repair: Still Haven’t Heard of It?
Posted by Bryce Randle in Blogging, Film | Video Editing, Post Production Workflow on October 15, 2009
Some people still haven’t heard of one of the most useful programs around for the most problem filled application in Final Cut Studio. Compressor Repair will go into your system, do what it does and either fix your QMaster, tell you if you simply need to re-install Compressor, or whatever it is to get your Compressor application working again.
Compressor is one huge reason I like Final Cut Studio. I am able to track multiple render times and now with Final Cut Studio 3, I can render out a project while editing another. How fantastic is that?
Popularity: 13% [?]
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