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I've been lurking for some time and finally decided to pop my head in and try to get some feedback. This is a video I edited for my job at UT Austin's student newspaper: https://www.youtube.com/watch?v=bpW4eUwll2Y. I also shot the whole thing, so go ahead and give feedback on that as well if you'd like, but for the most part I'd really just like to hear what you all think of the editing - pacing, transitions, etc.
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Mar 21, 2014 03:34
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Have a quick question for freelance editor goons out there - I just recently graduated and have received a few opportunities to edit in a freelance capacity. My main problem is that I have no idea what to charge for a rate. In the past I worked as a contractor under the guise of a yearly salary but the job only lasted a month, so I was paid 1/12 of the yearly salary over that time period. What's an appropriate rate for a freelancer that's sort of new to the scene? I want to strike a balance between "holding on to some of my integrity" and "not scaring away potential employers".
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Jul 31, 2014 02:07
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Chitin posted:I work a salaried position in this industry but I can tell you they're very, very thin on the ground. I personally work in house corporate, which means I'm a hybrid shooter/editor and everything else besides. My impression is that getting a full time job at a post house is something that happens after you have a fairly established portfolio. I've also heard of people working their way up from front desk receptionist/office gopher, but that is admittedly more on the VFX side and I don't know how common that is these days. Even many post houses tend to do layoffs and re hiring during bust and boom cycles. It's not a great industry for job security I'm afraid. Just to give a different view, I work full time on salary at a small (7 people total, including co-owners) production company based in Dallas and I feel pretty secure. Part of that is because the vast majority of our work is in eSports/gaming, a market that is quickly blowing up and in which we have many well-established and loyal clients. Also it's a very small company that I interned for and as such, it's a very tight-knit working relationship we have going. Both of my bosses are incredibly hard-working which is just about the best motivator one can have in this industry. We do both video/film production and live streaming productions, the latter of which I had exactly zero experience in but have since learned so much about. I'm mainly an editor (about 75% of my time) but I also shoot and do some producing. It's a good split because editing is my passion but it's really nice to break away from the computer and get out to shoot sometimes. I'm super lucky and grateful to have found this job, especially at my age (I'm 24). Words can't really express how lucky I am.
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Apr 21, 2016 13:24
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melon cat posted:I hope this is okay to ask in this thread. I recently put together this video for an eSports event here in Toronto (EGLX 2016), and it's the first time I provided media coverage for an event of this size. What kind of improvements could I make to this video? I'm hoping to do more of these types of videos (and who better to ask for feedback than a thread full of video people!). So I think I'm somehwat qualified to give notes on this because creating video features for eSports and gaming events/conventions is my full-time job. I won't get into too much detail but we work year-round on a contract basis with ESL America, traveling to conventions and eSports tournaments around the country making video content. I'll start by saying that I think this is fairly well-edited for a first attempt at something like this. I think you could have picked up the pace a little bit and trimmed some of the V.O. (which sounds good by the way) but for the most part you have a good idea of how a video like this can flow. I like what you did with the borders and picture-in-picture, your head is definitely in the right place. Next time think about picking up some man on the street interviews to get some testimonial stuff in there from attendees, it is easier than you think to direct people toward giving you good sound bytes. You probably already know this but the weakest part of your video is the footage. I can tell you've tried to color correct most of it back to life and you've done an admirable job but the problem with most of the footage is beyond the scope of color correction/grading. Quite a bit of your footage is shaky and uneven, so I suggest you pick up a monopod. It will quickly become the most important tool in your arsenal while shooting an event like this. When I'm shooting conventions like PAX East and E3 I'm always on my feet and the monopod is absolutely essential - I imagine it will be equally huge for you. We also use a DSLR gimbal which is perfect for shooting things like this because it is small, light and produces AMAZING footage. I also suggest you start working with some longer lenses (preferably a prime or two, but a fast zoom will work beautifully as well) for getting those emotional moments without getting too close physically. There were many shots in there of people cheering or looking sad where it looked like you were too far away, presumably because you know as well as I do that the kind of people who go to those events sort of shut down when they see a camera in their face. It goes without saying that these shots are important for a video like this - clients sure as hell love them - because it gives necessary emotional weight to a video that is ultimately about gaming and gaming culture. That's all I can think of right now, I'm sure something else will pop up in my head later. Hope this helps. Feel free to shoot me a PM if you have other questions or want to talk about shooting/editing eSports videos, I'm happy to talk about it anytime.
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May 28, 2016 02:45
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webmeister posted:Holy loving poo poo this has just changed my life This was a game changer for me as well (on a 5K iMac!). It makes full-screening the Program window unbelievably easy when I need to show an edit to my boss or coworker.
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Nov 15, 2016 00:18
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BonoMan posted:Gah! Editing on a single screen system is still a thing people do? 2 minimum, 3 preferable (gotta get that video preview to it's own monitor!). Oh I have a second monitor haha, I just tend to fill it up with Trello/Slack/Google Docs and other production-related stuff. Truthfully I have tried putting program or other Premiere windows over there and something about it just doesn't feel right. It has to do with the head-swivel in order to see things, I much prefer having Premiere on the single monitor. With the high pixel density of the 5K iMac I feel pretty good about my screen real estate, nothing to complain about.
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Nov 15, 2016 18:33
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Thoogsby posted:I'm editing a public access show for a friend and the footage is a little hosed. It's a 3 camera set-up that was edited live, so the file I have already has the cuts baked in. The issue is the exposure and colors are inconsistent between each camera. Does Premiere have a tool that can scan through the file and splice where it thinks the cuts are so i don't have to do it by hand? Digital Rebellion's Pro Maintenance Tools has a program that will do this called "Edit Detector". There might be a free trial or something you can take advantage of for this one project.
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Jan 6, 2017 18:23
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I've got a question about getting into higher-end storage solutions. I work for a relatively small production company - 7 people, two of which are full-time animators/editors - and we're starting to outgrow our current system of "a drawer of external backup drives and 3 NAS servers". We have at least 3 machines using the network for editing purposes at any given time but for producing we need 8 machines or more to be able to access the same network storage. Right now our archive footage is entirely separate from our daily workflow - the archive stuff lives on the external backups inside individual project backups, which kind of sucks - while our daily workflow lives on individual thunderbolt work drives and an NAS for a sort of "live" backup as well as a way for us editors to share assets if we're both working on the same project or need to pick up the other's project. As you can tell from my poor explanation, this approach is a bit fragmented. It requires the editors to keep up with projects in multiple locations and to constantly reconcile the projects we're building on our local work drives with the version of the project on the NAS. When a project is backed up, we pull some stock from it but the vast majority of footage from the project goes to the backup drives permanently, requiring us to go pull the drive if we need anything from it. Basically I want to start upgrading. What sort of systems do larger post houses use? I'd love some insight into what's out there, what my options are. I know for sure that our backup system is immensely flawed and would like to get all of that data off of those external drives onto something more secure as soon as possible. Would love to hear what y'all think. Thanks!
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Dec 22, 2017 18:34
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BonoMan posted:We're a 35 person Ad agency with about an 8 man full production crew (production and post production). We use a 100TB QNAP NAS with 10GigE connections. So each machine is wired via 10GbE to the central NAS and we work off of it there. It's perfect and we work with 4 and 6K raw RED files just fine. Beautiful, this is all very helpful. I was wondering what the next step up for us would be without going all-out for some massive SNS EVO system and this seems to be exactly what I was thinking of. I think it will be a bit of a hard sell to the bosses to get us off of individual thunderbolt drives but we already move and share those drives so much that I think an all-NAS solution is the best. Thanks for the insight, it's much appreciated.
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Dec 22, 2017 20:33
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BonoMan posted:No problem. It's such a simple "idea" (all working off shared central storage) but it absolutely revolutionized our workflow. We can all share After Effects, Premiere and DaVinci projects and work from any station without passing around a single drive. Money well spent. Yeah absolutely. We have a few ~5-8 TB NAS servers in the office - one of them is for active projects, one is setup as an FTP and one is typically taken with us to on-site editing gigs. The thing is that the NAS used for active projects isn't really used in that way - the version of the project that is transferred to it becomes obsolete within a couple days as we add assets to the version on on our individual working thunderbolt drives at each computer. It's not a very efficient system and I'm looking to streamline so I'm beginning to think that a larger, more reliable NAS system would be best. Thanks again!
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Dec 22, 2017 22:19
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CaptainViolence posted:does anyone know of any cheapish adobe-compatible hardware transport controllers with a jog wheel? So I'm not sure if it's compatible with Adobe products because I think it was just very recently announced and may not even be in consumer's hands but Blackmagic just came out with this insanely cool keyboard: https://www.blackmagicdesign.com/products/davinciresolve/keyboard It's $1025 so of course it's kinda bonkers in that regard but I knew I wanted one as soon as I saw it. Look at that fuckin' bad boy. How cool is that poo poo. It's like something from a dream.
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Apr 19, 2019 21:55
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BonoMan posted:That's nice and I'd love to get it as I'm about to dive deep into the Resolve ecosystem but goddamn that is RIDICULOUSLY over priced. I know there's overpriced equipment out there, but Blackmagic is sort of known for really decent pricing so what the gently caress man? We use a TON of Blackmagic stuff at our company and you're absolutely right - I find the pricing of most of their equipment to be super reasonable. No idea what's going on here. It's like a $750 premium to get a jog wheel on the keyboard itself, a few extra keys and specifically-titled keycaps (and that's being generous about the cost of normal mechanical keyboards). I guess it's made of metal, which is cool? Who knows. The more I think about it the more it seems like it's priced specifically for high-end post houses, which is pretty poo poo because those places certainly don't use Resolve to edit.
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Apr 19, 2019 22:05
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BonoMan posted:Yeah - we're pretty deep in Blackmagic stuff as well (Resolve, some control surfaces, Ursa Mini Pro and about to get some switcher gear) and it's just surprising. If it were $500 or $600 I'd absolutely get my work to spring for it. Can I ask about your usage of Resolve? How much do you use it, in what context, what kind of content are y'all creating? Let me explain our production company's situation in order to sort of contextualize this question. We're a smallish production company - 7 total employees (2 of which are co-owners/founders), two dedicated post people. I'm one of the two and I'm the Post Production Supervisor who primarily edits while managing our post workflow etc. The other guy is a combo motion graphics/AE wizard and editor. We hire contractors as we need them for workload, anywhere between 1-3 at any given time with periods of a few months where we don't hire any. We do a lot of quick turnaround work shot on GH5s but are working our way into more commercial stuff shot on Ursa Mini Pros. Most of the time we find that we don't really have time to roundtrip from Premiere --> Resolve --> Premiere because the work doesn't really call for it, we don't have time or the shooting format simply doesn't need it (think shooting Cinelike D picture profile on GH5/GH5s). We tend to lean a lot on Lumetri (I know) and the FilmConvert Pro plugin. Obviously when we shoot bmraw on our Ursas we have to create proxies and color later in Resolve but those instances and our (relatively sparse) commercial work are the only times we really use it right now. I'm really just curious about other production company's workflows. How do you implement Resolve into your workflow? Are you just smarter about planning and informing clients about post timelines? (lol) Tell me however much you're comfortable talking about, I'm really super interested.
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Apr 20, 2019 20:02
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I have a question for editors & post people working in small- and medium-sized post houses. Our production company is growing. We've been working with big-name clients for some time and we're starting to sell projects that are larger in scope. Our old methods of data storage (primary work drives, many many backup drives) aren't going to cut it when it comes to projects like the hour-long documentary we just took on. Our largest storage method right now is a server that's primarily used for holding projects for clients that we're constantly referencing over and over. What sort of methods are the most efficient for smaller post houses like ours that are going to take on big projects like this one? What do other post houses use? I'm sort of in the dark here, working in Dallas where there aren't too many post houses at a production company that I've been with since I got out of school. Just looking to hear what y'all think.
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Nov 13, 2019 23:22
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BonoMan posted:No offsite backups. Boss won't pay for it. Welcome to small business! I know the feeling. We have a studio and the post house is literally a second small house built on the same property about 30 feet away from the primary studio/office building. The landlord had a small family renting it when we first took over the studio but they moved out so he put some money into renovating it and viola, we got ourselves an honest to god Post House. So anyway, one set of backups is in the studio and the other set of backups is in the post house. If the potential destruction is limited to one or the other, we're totally gravy! 
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Nov 14, 2019 02:09
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BonoMan posted:Why on earth would a college program need the students to raise funds for the shorts? Shouldn't they provide you all you need? Don’t make me laugh. Every thesis film when I was at UT Austin RTF was crowdfunded in one way or another.
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Jan 31, 2022 19:44
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frytechnician posted:Full time video editor here with almost a decade of experience. Unless there's been a radical shift, it's still typically Avid MC for long form and broadcast, Premiere for web and short form. Literally had one post house ever use FCPX and none using Resolve outside of colour grading. I think FCP7 was still in use at a few more news-y places years back but can't confirm first hand. As a real paid professional editor according to the standards of the weird tv editor getting super pissed off in this thread I'm here to say this is some certified real poo poo that you said. I'm at a small shop that does mainly web but currently doc & live streaming work and we're 100% Premiere. Resolve is good for anyone starting out because it gives them the ability to move between NLE & color and I just think they should learn the basics of both. Then I'd recommend you learn Premiere as well because it's applicable in lots of entry-level editing positions that are out there nowadays or Avid if you're goal is to AE and then work in the movies.
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Mar 7, 2023 03:34
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the_lion posted:Dynamic link breaks, regularly. Ever since they introduced it. It's a terrible solution to the problem of just rendering your AE comps out instead anyway. We use Red Giant Universe constantly at our post house. It's the only transition pack I've ever found that is not a bunch of janky Premiere effects inside nested sequence bullshit - Universe is just a big pack of actual transitions that have plenty of variability in the Effect Controls tab.
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May 15, 2023 15:58
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Captain Organ posted:I checked the last few pages of this thread and didn't see it, so hopefully this hasn't been asked too many times before and is kosher for this thread: We bought several maxed out M1 Max Macbooks at work around the time of their release and decided not to upgrade to the M2 Maxes because the jump in power from M1 Max to M2 Max just doesn't warrant the upgrade. Those M1 Maxes have been incredible for us on a Premiere workflow - it's the first time in maybe four generations of Macbook that I've seen a significant upgrade in the speed and smoothness of general video editing. So yeah that M1 Max refurb is the way to go imo, you won't be disappointed. You're definitely going to want the increased unified RAM, we max it out all the time with some of the more demanding edits we work on.
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May 29, 2023 20:58
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Trabant posted:Hello editors. A long while ago I posted my first "maker" YouTube video here and a few of you helped me with feedback on what to do better next time around. I don't think I saw your original video but just off the top I thought I'd tell you I really enjoyed this. Your camera/editing fundamentals are solid and it all comes together really well - it also helps that you're talented and both the clocks and display case you're making are cool as poo poo. Just a few things I thought about while watching - keep an eye on where your music ends and begins, there's a dead spot or two where there's ~10 seconds of silence. I think when you're holding your camera you could do a better job of combining shots - think like a Spielberg shot, he'll start in one type of shot and move the camera to create a totally new composition. So early on in the video when you're showing off the Seiko clocks, you could start with a top-down and later when you move the camera around you could swing it lower into a straight-on close-up of the top of the pyramid or another detail. It's really about being economical with your audience's time and making sure that every moment there's something new and interesting happening in your frame while you're sitting on a single shot without cuts. You do a good job of this later in the video with the daytime display case shot, just something I was thinking about in the earlier handheld shots. Also when you indicated that you were showing a daytime shot of the display case (which implies there's a night time shot) I was dying for you to do one of those day --> night edits where you leave the tripod in the same place and transition from day to night in a single match cut. Just something for next time haha Captain Organ posted:It turns out that I could move a little money around in the budget, so ended up with a refurb M2 max, 96GB, 2TB. Having watched some more benchmark and practical reviews on YouTube, if it was my money I would definitely do the refurb m1. either way, I could cry at how much better this is going to make my working life. no more stuttery proxy editing, no more waiting 2 hours for stabilization pre renders, even just being able to tab through folders full of clips in preview that play as fast as I can hit the arrow keys feels like a game changer. HIGHLY recommended for anybody still trying to drag an old i5 or i7 along with a newer camera's footage. Yeah that's pretty much the best you can buy right now, congrats on the sweet machine. The buttery smoothness is a godsend in comparison to even the most recent Intel macbooks.
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Jun 4, 2023 21:56
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Hey post friends, got a question for you. Our post house produces lots of short deliverables and we're looking for an effective QC software if that sort of thing exists. A client has asked specifically about photosensitivity checks but we're also looking for a general solution. I've found a few that come up with a google search (QScan looks alright) but really just wanted to see if y'all have any recommendations before I pull the trigger. Thanks y'all.
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Jul 31, 2023 19:35
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Bonk posted:
First off, are you sure the camera is a Ninja V? The Atomos Ninja V is just a monitor and not a camera. It's definitely a white balance issue - based on your description it sounds like this camera in your setup was set to automatic white balance and the various lighting cues triggered the white balance to change but for whatever reason it didn't change back immediately. I imagine it had something to do with the placement of the camera in relation to the venue's lighting setup and how the automatic white balance was trying to respond in real time to the lighting changes.
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Sep 27, 2023 21:18
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forest spirit posted:Yeah I think this is going to be the way, I was thinking about using the dialogue isolator but I'm not sure how I would select everything BUT the dialogue, I'm not sure how to use it to make a selection, it's just an effect but I want to use it somehow to select the dialogue. That way I could duck it all with the effect but I don't have resolve in front of me now. Premiere has an auto-ducking feature but y’all pretty much hit the nail on the head - no automatic feature is going to give you the level of control necessary to make it sound good. The only way you’ll achieve the level of quality you want is to manually keyframe it yourself. To give you an idea of how normal this is, I recently Post Supe’d a five episode streaming game show (2 to 3 hour episodes) that had 10+ talent speaking over each other for most of each episode. They were all wearing lav mics that were bleeding into each other constantly so the only thing we could do to clean it up and prep it for the sound mixer was to manually mute each talent’s lav mic whenever they aren’t speaking/the audience doesn’t need to hear them. One of the worst bleeds was the hosts - a lot of the time they’re standing next to each other bleeding into each others lavs, so we have to alternately mute them as each of the hosts speaks for the entirety of the five 2+ hour episodes. All of this has to be done manually - that’s just the way it has to be. It will be good experience, go ahead and dive in and start choppin’.
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Oct 18, 2023 18:59
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Cabbages and Kings posted:Hi! I have never posted in this forum before, I don't think. Do we sign our posts here? I work tangential to professional live streaming stuff and the general knowledge in the industry is that OBS is a miracle of a piece of software. It has no business being as reliable, robust and dependable as it is - and the fact that it's free is genuinely bonkers. There are in-program Multiviews that you'd need to buy an entire Blackmagic ATEM switcher to normally get access to. Naturally that hardware is launching you into another level of video/streaming production but it is still absolutely nuts what OBS can do. I think you're good sticking with OBS - if you really want to level up you'll need to start looking at the different kinds of Blackmagic ATEMs and hooking your audio poo poo up with that.
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Jan 8, 2024 01:56
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Mr Interweb posted:hey guys. i use basic things like slide, push, gausian blurs, etc. for my videos very frequently, but i'm finding it very annoying to constantly have to type out each one of those effects in order to access them. is there a way to save effects and transitions and such into one folder? Yep, you can save any number of transitions to a custom folder in the Effects tab, I’m away from my computer at the moment but I think there’s a button with a folder and a plus sign on the Effects tab that will let you create a folder and from there you just drag effects into it. Mine at work is called “The Good poo poo”. The number one way to get faster is key bindings. Just force yourself to learn each of the different tools and then start using your keyboard to select them instead of browsing - it will be the combination of actually using all of the tools and using quick keystrokes to select them that will accelerate your work as you get better. I also create key binds for things like all of my different Label colors so I can quickly organize my timelines. I’m on Mac and the Ctrl button is rarely used so all of my labels are Ctrl + A and whatnot. My staff have caught on and do the same thing, it just makes sense. Just keep working, you’ll get faster with time.
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Feb 2, 2024 16:27
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