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    [–] How much can an editor push in and have it still look okay? (resize/resizing) ovideos 1 points ago in colorists

    I find that hard to believe – I don't mean that as an argument against you, just that I actually find it hard to believe. You're saying if we projected a DCP of this footage and cut it against 100% footage with the same lens I wouldn't notice a quality drop?

    [–] How much can an editor push in and have it still look okay? (resize/resizing) ovideos 1 points ago in colorists

    Right. I'm talking about blowing a single shot, or making a fake "zoom" in a 4k project, so whatever it is will absolutely be compared to unmagnified 4k, in the next shot likely.

    [–] Someone asked about morph cuts. ovideos 2 points ago in editors

    yeah, I was agreeing with you on the picture edit. Sorry if that wasn't clear.

    [–] How much can an editor push in and have it still look okay? (resize/resizing) ovideos 1 points ago in colorists

    Do you feel in the final product (DCP, Netflix Stream, etc) 10% is basically un-noticeable?

    [–] Someone asked about morph cuts. ovideos 3 points ago in editors

    Well there's not sound, it doesn't look like a frankenbite – looks like they just cut out a bunch of time so she could say her final thing? Maybe?

    I think they should've just jump cut or gone back to the reporter (probably didn't have the option of going back to reporter).

    [–] Someone asked about morph cuts. ovideos 7 points ago in editors

    meh. I love me a good a morph in a documentary edit. It's all about context.

    [–] Someone asked about morph cuts. ovideos 3 points ago in editors

    Me neither. And I'm the "morphs are useful" guy when this last came up in this thread. Definitely not cool in "vox pop" type stuff... not to mention that (as we can see) they don't really friggin work. I wonder if a producer made that happen?

    [–] Any bangkok based editors? ovideos 1 points ago in editors

    I wonder what happened? Could be the beginning of a thriller...

     

    Derek is the hottest editor east of Papau New Guinea and he's trapped into making youtube videos for a Burmese drug lord, but they quickly become the most popular videos in Asia. Now the Drug Lord is a YouTube star and Derek has to choose between riches and fame, or working with the CIA to bring down his employer!!!!

    Reverse Shot - this summer.

    [–] Potential client requesting entire film for work sample ovideos 1 points ago * (lasted edited 7 hours ago) in editors

    I mostly work in documentaries and there is definitely less of a worry about security in general (no actors, etc) but I'd say you're mostly worrying too much. I think it makes perfect sense they'd want to see a whole film.

    Watermarking is a good idea. I also like Google Drive for this kind of thing because I can share with only specific people and even keep them from downloading the video. I have all my work in a Google drive folder and I share it (or some of it) with people when they're considering me for work and then a bit later I make it private again.

    [–] Giving credit to 2 editors ovideos 3 points ago in editors

    If you were listed as editor, you should put editor. How you note the other editor depends on how you format your resume, but you shouldn't obsficate the fact.

    Co-editor means something less than editor. Don't put that in your resume unless that was your credit.

    [–] Surround mix for basic stereo? ovideos 1 points ago in editors

    Do you do this with only stereo speakers in your cutting room?

    [–] Surround mix for basic stereo? ovideos 2 points ago in editors

    Yeah I figured. Just thought I'd check I hadn't missed some "editor tip" one day. Lol.

    [–] Customizable keypads? (X-Keys, Max Falcon, Elgato Streamdeck) ovideos 1 points ago in editors

    You didn't like the X-Keys for editing? Any particular reason?

    This is the Shuttle Pro you speak of?

    Which NLE do you use?

    [–] Sync Audio Tolerances ovideos 1 points ago * (lasted edited 2 days ago) in editors

    I'm not sure what you mean? How are you verifying that you are "in sync"? I can see something that is 2 frames off for sure – but some might call that "seeing 4 frames" because it is +/- 2 frames, you know what I mean? I can usually see the difference between 1 frame if I a/b it and I can usually decide which looks better, but not always.

    What I can't even begin to guess at is which direction it is off until 4 frames or so. I've met ADR/Dialog editors who can look at someone talking and say things like "2 frames late" or "2 frames early" and be correct 90% of the time (and also 1 frame, but even they have to toggle back and forth).

    I once worked on a music documentary and received notes from a very famous musician about their lip-sync. I knew some of the shots were a bit off already, but I was surprised how accurate the musician was. They picked out every shot that was out of sync and noted it, even a few I hadn't noticed, and they didn't note any shot that wasn't out of sync – they batted 1000 on their sync notes. And we're talking about 1-2 frames on a compressed streaming video link.

    EDIT: But as to your original question, I consider something in sync if it is zero frames out of sync. How you determine the actual true sync is the conundrum often. These days I'd say "within 1 frame" is okay, let's call it 1.5 frames. Back in the olden days of film, sync was definitely better! Sprockets don't drift/slip.

    [–] 8 Pitfalls to Avoid in a Offline-Online Video Workflow ovideos 2 points ago * (lasted edited 2 days ago) in editors

    Thanks for your reply. I'm going to have to disagree with you for the most part about the offline/online thing. First off I'd say that I agree that there is a similarity between workprint/negative and offline/online but it seems quite erroneous to say that it dates "back to the film days, when it was important to preserve the original camera negatives as pristinely as possible." It is hardly just a semantic difference, the term literally originated in video editing and not film editing and it has nothing to do with "preserving the negative". It has to do with linear-editing vs non-linear and the expense of computer controlled video decks. I think for the scope your article you could've just written that the term dates back "to the days of linear video editing."

    I also think the analogy of film only really works a little. No one needs to preserve their digital masters as pristinely as possible. But what they do need is a cheaper/faster way to edit than what might be required to edit 4K uncompressed. That is much closer to the original meaning of the word, in some ways the meaning actually hasn't changed much. In old analog videotape you "offlined" because the fancier online systems were too expensive and you wanted to be able to sit in your office with some cheap VHS tapes and try out ideas with ease and speed. In the new digital world you "offline" with proxy-media because you want to be able to sit in an office, or on a beach, or at Starbuck's, with your notebook computer, and try out some ideas with ease and speed.

    Although editing film negative was definitely slower than editing workprint, it wasn't really that much slower or more expensive. The big problem with negative is there was only one copy, it could be scratched and would be scratched if handled too much, and it could only be edited destructively. The negative cutter literally glued the film together and generally you lost a frame with every edit (never ever to be seen again, tears in rain and all that). And therefore if you undid a negative edit you lost 2 frames! So yeah you didn't want it touched except hardly at all. Finishing your negative cut wasn't really like an online edit, it was more akin to sending your masters to Netflix for streaming, or to the station for broadcast. Yes, you can recall it and make changes before it goes out to the world, but it will probably be a bit of a thing.

    I believe the reason the term "offline" became synonymous with film edits is because during the first 10-15 years of Avid editing (and other NLEs) the video looked so shitty that anyone who wasn't familiar with digital editing would say "holy moly what is wrong with your film? It looks like crap!" And the editor would say, "don't worry, this is the offline edit. We'll screen the workprint and you'll see."

    No one in film used the term online or thought of the negative as the "online cut". If you were to run with the online/offline analogy the Avid would be the "offline edit" and the workprint was the "online edit" and the negative was just the negative – sitting somewhere safe and waiting for the film to be 100% (fingers crossed) locked.

    (And as for renaming files, I still would rather not. But if it works for you, go for it!)

    [–] A new world in a bottle ovideos 0 points ago in interestingasfuck

    You don't like the sun? What a schmuck!

    [–] 8 Pitfalls to Avoid in a Offline-Online Video Workflow ovideos 1 points ago in editors

    I've had very few problems hunting down files via path name. But sometimes I just hand my offline project over to the online people and it's possible they have problems figuring it out.

    I can see the advantage of renaming camera files, but I find the potential for error too great – especially as part of a tutorial from a blog . I've generally work on projects with multiple assistants and multiple disparate shoots. I prefer to just tell everyone to just never change any original file names, because that way I know the naming will be consistent (even if it will be consistently the crappy naming conventions of camera manufacturers). But, like many rules in life, I suppose you can break the rule as long as you understand the rule.

    [–] Customizable keypads? (X-Keys, Max Falcon, Elgato Streamdeck) ovideos 1 points ago in editors

    X-Keys, at least, is firmware programmable. I've not used them, but they can run without any software running. You obviously need software to program them, and it's possible the firmware is flakey, but not having to add software to my NLE system is part of what appeals to me about them (over Elgato for instance). But I've no experience with any of these keypads at all.

    I guess I feel like instead of hitting shift-f13 with my right hand for (whatever-thing-I-do-with-shift-f13) it might be cool to have an extra set of keys off to the left side of the keyboard.

    But then I need to bring my quirky "extra keys" everywhere I go.

    [–] 8 Pitfalls to Avoid in a Offline-Online Video Workflow ovideos 18 points ago in editors

    Two criticisms of this article.

     

    Offline-online workflows date back to the film days…

    Umm ok, the term does date back to the film days just like New Wave, Disco, and Swing Dancing, but the term came from video editing and has nothing to do with the film workflow. No one ever called the work-print an "offline edit", or the negative an "online edit." Once film-editors started using video, they also started using "offline edit" to refer to video, but "offline" was never film.

     

    Another solution would be to simply rename the clips so that every single one in the entire project is unique… Since the release of Yosemite (MacOS 10.10) in 2014, the Mac OS Finder has had a handy built-in function to batch rename files.

    I'm pretty sure this is a very bad idea. Leave your original media file-names alone. Yes, dupe filenames can be annoying as hell, but every file-path will be unique and you don't know annoying until you lose some media and then have to hunt for a backup that "might be called C0002.mp4, or might be called 2018.01.22.02.mp4". Yes, if you're very disciplined and it is only you ever working with camera originals it is possible to rename – but the camera people might have backups also. Why create room for error where there was none before?

    [–] Customizable keypads? (X-Keys, Max Falcon, Elgato Streamdeck) ovideos 1 points ago in editors

    I already can barely operate without my keyboard settings, so that ship has sailed.