Saint Cloud Film

One of the affiliates we work with is Saint Cloud Film. Made up of Jared Harris, Cole Webley and Julian Acosta, this group is one of our favorites to work with. They have done a lot of fun, detailed and impressive work. Check out their site at saintcloudfilm.com

One of my favorite spots to watch is directed by Cole Webley. His spot, Kodak “Memories,” was shortlisted at the Young Directors Award at Cannes in 2009.

Ripping a DVD for Projects

Many times clients will come to me and say “Hey, I have this video. It just needs the sound changed and that’s it. Well, I would like to change one or two things. I only have it on this DVD, but that shouldn’t be a problem, right?”

No, it isn’t a problem. But it is still something that I feel a little hesitant to do. I don’t think anyone understands how compressed the project is when they give it to me. The real problem though is wondering if I am ripping, extracting, or un-compressing the best way possible.

While there are my solutions to the problem, I would love to hear what other people have found to be effective. Here are a few different options I use. They are not in any particular order.

Luc Robitaille & 50 Ways to Score More Goals

Last year in July we had to opportunity to interview a member of the Hockey Hall of Fame, the great Luc Robitaille. Luc is featured in “50 Ways to Score More Goals” a project that Post Fifth Pictures produced for Hockey Player Magazine, LLC.

50 Ways To Score More Goals is available for purchase at HockeyPlayer.com and coming soon to national retailers.
50 Ways To Score More Goals is available for purchase at HockeyPlayer.com and coming soon to national retailers.

Last year in July we had to opportunity to interview a member of the Hockey Hall of Fame, the great Luc Robitaille. Luc is featured in “50 Ways to Score More Goals” a project that Post Fifth Pictures produced for Hockey Player Magazine, LLC.

Shot on location in Park City, Utah, Luc shares some of his greatest tips and memories on how he became a star in the NHL.

Guest Speaker: Matt Davis from Sony Pictures Animation

Starting off our Guest Speaker section is Matt Davis. Matt Davis is a post production guru on the side of animation and post supervising. He is a post production supervisor with Sony Pictures Animation. Matt Davis is the Post Production Director at Sony Pictures Animation where he oversees Editorial for all SPA releases.

After I graduated Brigham Young University’s film program and finished the Walt Disney Studio Summer Associate Program (no, I wasn’t Pluto for the summer at Disneyland), I started to collect names and network with BYU Alumni. We held conference calls with industry professionals that were great to listen to and learn from.

Listen: Matt David (Sony Pictures Animation) Conference Call

Download: Here

My Avid Influenced Final Cut Pro Keyboard

f you are like me, you edit with both Final Cut Pro and Avid. I did learn Final Cut Pro about a year before I started editing on Avid, but now hold Avid a tiny higher than FCP. For what? It all depends. But the one thing I like to keep the same (or close to it) is the keyboard. This makes switching between systems much easier.

One of the best compliments an editor can get (when you already know that the client actually likes your cuts and your workflow) is that you are fast.

This is one tendency that will brings clients back again and again. The more directors and producers start to edit their own material with editing suites coming down in price so much, the less work editors have. One way to let them leave the edits to you is to show them you are going to get their job done faster.

If you are like me, you edit with both Final Cut Pro and Avid. I did learn Final Cut Pro about a year before I started editing on Avid, but now hold Avid a tiny higher than FCP. For what? It all depends. But the one thing I like to keep the same (or close to it) is the keyboard. This makes switching between systems much easier.

Changing Timecode / System Frequency on the Sony HDW-F500

Here is a walk through on resetting the timecode on the Sony HDCAM deck to match the frame rate on your HDCAM tape.

The Sony HDW-F500
The Sony HDW-F500

A few years ago I took a freelance night shift as an assistant editor at production company in North Hollywood. It was a short gig, but overall it was a good learning experience. I utilized about 4 Avids at a time, outputting to DVCAM, BetaSP and Digitbeta. Every once in a while I would freak out because I had a small question about their specific configuration and it was 12 AM. Who wants to get a call from the new guy at 12 AM? Nobody. Going from office to office over the past couple years, it takes a while to get used to everyone’s specific setup. One of the places I work at the most has a great machine room full of great HD equipment. It took me a while to remember tasks like resetting timecode on the Sony HDCAM deck though.

Here is a walk through on resetting the timecode to match your HDCAM tape. (Forgive the iPhone 3G camera resolution)