By playing it “safe,” what you, the director, and the production are essentially saying is that you don’t know the story you are telling. After all, we are not in this business to just create images; we are in it to tell visual stories.
“Fix It In Camera & Finesse It In Post.”
Amen.
Sunny Days: Posting ‘Sesame Street’
http://www.postmagazine.com/Publications/Post-Magazine/2013/May-1-2013/Sunny-Days-Posting-Sesame-Street.aspx#.UZ0I3q79Vw4“I always tell people that the trick to being a good editor is “out-caring” everyone else in the room. If you can care more about the project you are currently working on, more than even the writers, directors and producers, then you’ll make something great.”
“Some are growing nervous about just how long Apple will support the old version of Final Cut. And they’re worried that Avid, which has not been profitable for several years, has an uncertain future.”
Le sigh.
“I have started the next Timeline, which will detail the 1985->1999 era when Bill Warner gives up on waiting for someone else to build a digital Moviola, and Randy Ubillos creates Premiere, KeyGrip and Final Cut. It really is an inspirational story. Hopefully it will be done for Christmas.”
“It seems that Avid’s DNxHD either has more aggressive compression or pre filtering/blurring than the other codecs which may lead it to being less suitable for a greenscreen intermediate than ProRes or Cineform. Cineform may be sacrificing color fidelity to keep sharpness and edge detail; because of its uncontrollable bitrate it may be a hard 1:1 comparison. ProRes may be striking some kind of balance between overall fidelity and sharpness. Different design philosophies from each codec.”
Great Avid editing tips from the Hollywood feature editor Eddie Hamilton. I should also get that game mouse as well.
Ever wonder why your OLED and CRT, or Plasma and LCD, or even two LCDs with different types of backlights look different to you even when they measure as matches with high-end color analyzers? This video helps to explain the reason for this and provide some practical guidance for how this impacts your use of any given display device in a professional editing environment.
