: Kylee Peña's Blog
As a woman of child-bearing age who has recently begun the descent into the back half of her 20's, I'd be lying if the idea of reproducing wasn't at least on my mind. It's floating around somewhere in the back, mostly, but it's there. Lurking.
Obviously there are many among us who choose not to breed, which is a completely legitimate and respectable decision. I don't know whether it's a biological process that affects some of us differently, a societal role thing that creeps into our psyche, or just the sociopathic desire to create and ruin a human being in our own special way, but a lot of us want to make them babies. Regardless, I've pondered this thought of parenthood periodically. To put it bluntly, how will having a completely dependent screamy little person put a kink in my editorial career? And does asking this question automatically disqualify me from having one?
I've noticed that a lot of my friends and Twitter friends in the biz have decided to have children at some point in their careers anyway, and are doing just fine. But how? Why? Isn't video production difficult enough already? How can you possibly be successful in video while raising a kid that doesn't grow up to resent you? How do you have the best of both worlds? Can you?
I talked to three people in the video business who I knew would have unique angles on this subject. Tim Wilsbach
, a freelance editor who is a relatively recent LA transplant from my city; Kate Chaplin
, an Indianapolis area director and writer; and Monica Daniel
, a freelance editor in LA. They offered a vast variety of career goals and paths, and experiences as parents.
Each perspective ended up being so uniquely interesting, I decided to split this blog into three parts. For this first segment, I'm talking to Tim Wilsbach about the somewhat unconventional path he's blazed in the industry.
A lot of people choose to move to LA to try to make their careers happen. While Tim has had a long career in post-production, he's only lived in LA since 2011. As Tim put it, "Most people move to LA sometime in their 20s as they're just beginning to carve out a place for themselves in the industry. They're able to split the insane rents with roommates and work super-long hours as post-PAs, assistants and then editors. I moved to LA when I was 38 after being married for three years and with a two and a half year old in tow."
Even though Tim is a fairly recent addition to LA, he's had a long post-production career that started in Indianapolis. He graduated from the Telecommunications and Theatre and Drama programs at Indiana University, and soon started out as a Senior Editor at WFYI. There, the editing bug bit him when he cut an independent feature at night. He spent the next ten years as a freelance editor, getting national television credits on ABC, ESPN, Discovery, A&E, VH-1, and Speed. Oh, and lots of corporate videos. He moved his family to LA to edit at the NFL Network for football season, and hasn't stopped working since.
Tim has been married for over four years to his wife Nancy, and they have a three year old son named Riley.
When you first began your career, what were your thoughts or plans on having a family?
Tim: When I first began my career I didn't have thoughts about a family. I was young and male. I wanted to have drinks with friends, go where the wind took me and write and perform music with my band.
As your career progressed, did your outlook on family life change?
My outlook on family life progressed independent of my career. It was driven mainly by my now wife, who I'd been dating for almost as long as I've had a career. Don't take that the wrong way, I was a willing participant and knew I wanted kids, you know...eventually. I just had no concrete plans in place for such a thing, and would have continued putting it off. I'm sure there are guys like me who were "not ready for kids yet". I think I would have perpetually held that opinion if it weren't for my wife helping me along.
Why did you want to have children?
I have a brother and a sister, and I grew up around my grandparents and was very close with my Aunt's family and her three kids. Family was and is a big part of my life, especially while I was growing up and I wanted to perpetuate that tradition. Plus my only brother has three girls so if I wanted the Wilsbach name to live on I had to get busy.
How did your family life determine where you chose to live?
It didn't. Mine and Nancy's philosophy is that kids enter your lives, you don't enter theirs. More importantly, our outlook on how we bring up our son is more about life at home and less about where that home is located geographically.
During the pregnancy and birth of a child, it seems common that men don't get the kind of leave or time at home they desire. Did you have any trouble with managing work during your wife's pregnancy, or in the weeks after birth?
Well...interesting story about that...my first introduction to work in Los Angeles was during my wife's pregnancy. I got the opportunity to cut a show that would take me to LA for 2.5 months which put me back in Indianapolis about two weeks before her due date. We discussed it, she encouraged me to go so we made the decision to do it. It can't be said enough how encouraging and how much of a rock star my wife is.
We made sure I got all the big things done before I left, building the crib, fresh paint for the babys room, strollers, car seats etc. etc. And I flew back a few weekends. The show wrapped in plenty of time and we had the baby about a month after I got back in town. After the baby was born it was pretty slow for me for about 4-6 weeks, so it kind of worked out. I'd do a day or two a week as it popped up. Money was a little tight, but it was nice to spend that time at home.
Did you ever worry about missing opportunities in your career to be home with a child? On the flip side, did you ever worry about missing moments with your kid because of your career? How do you balance this? Do you feel like it's a sacrifice in some ways?
There is definitely a sacrifice on both ends. We work long days in this industry. On a typical week day I leave the house a little before 9a and I get back anywhere between 8 and 9p. He's in bed by the time I get home, so we get just a little time in the mornings. Sometimes I'll work a Saturday as well or have a side project at home I have to work on on the weekend. Those hurt the most and I'm trying to be a lot more selective about the projects I take along those lines, and leave the weekends as sacrosanct. FaceTime is nice, we at least get to see each other at bedtime for a few minutes.
The sacrifices on the work end--well I'd like to get into features and/or scripted and its been suggested that a good way to do that is to take a step back to AE to get into a cutting room and work my way back up. It's not easy to do that because the number of hours I work would go up and the amount of pay would go down, not good for a one income family financially, and more importantly there would be even less time with the boy.
What ends up getting sacrificed is time for myself. I'm either working, or spending time with Nancy and Riley. I barely pick up my guitar anymore much less write, record or perform and that used to be (really still is I guess) such a huge part of my identity. Nancy and I also don't go out nearly as much as we used to, our social life is basically toddler birthday parties on Saturday afternoons. I'm exaggerating a bit of course, and that type of thing isn't unique to a tv & film career.
When you're in the middle of a big project with long hours, how does it affect your family life? How do you alter things to make your family life manageable in these situations?
I'm always in the middle of a big project with long hours. Since we only have the one income I can't afford to take 4-6 weeks off between shows like a lot of editors do here in town. It is tough though when I have a side project that takes those precious vegging out hours between 9p-11p and turns them into more time in front of the Avid and at the same time devours the weekend. I'm working hard, Nancy doesn't get a break and Riley definitely notices when Daddy's not around much. He's only three but he understands two days off in a row and gets excited about them. Basically we try to stick to that morning schedule as much as possible, it's all about Riley-and I just deal with burning eyeballs when the work hours are long. I usually take him running with me in the mornings, then we play cars or PlayStation or just generally goof around.
Video and film professionals often work independently running a business or as freelancers. How did this play into your family plans? How do you deal with things like having funds for kids' activities, having health care insurance or funds for childbirth and kids, or generally just running a household without necessarily having a traditional full time job with benefits?
That is certainly a trick and the hardest part of being freelance. Before we had Riley and when Nancy was working we were covered under her policy. A lot of people I know do that, but that is not an option for us. The individual insurance market is broken. Coverage is prohibitively expensive, and the deductibles and co-pays are crazy high. I'm a Member of the Motion Picture Editors Guild and that is an awesome solution to the healthcare, vacation & retirement issue. The trick is consistently finding work that is union eligible. You basically need to work 16 (50-hr) weeks on a union show per year to keep your benefits. Scripted shows are traditionally union, but unscripted is traditionally not. There are a few but they're desirable and that much harder to get on. There is a growing number of editors that are working hard to convince more reality producers that it's important and valuable to use union editors, but it's slow going and hasn't quite reached the tipping point yet.
How do you deal with childcare and unexpected challenges that come up when raising kids (i.e. sickness) while also balancing often time-sensitive tasks such as editing a show?
Financially, you just have to budget and be disciplined about saving for unexpected expenses. As far as dealing with a sick kid and other challenges that come along with raising kids; plain and simply I could not do this if it weren't for my amazing wife Nancy. She works as many hours as I do raising the boy and running the house and as we both sink into the couch to watch a few minutes of tv each night it's unclear who's worked harder that day.
When working from home, how do you manage your time with your son around?
This has proven an impossible task for me. I used to work from a home office, but after we had Riley I rented an office. Now that we're in California and I don't have an office (home or otherwise) I work during nap time or at night after he's asleep. Occasionally when I really have to dig in at home and get something done during the day Nancy and he will go out for a few hours. Luckily though, since there is more consistent work out here, I don't have to work at home very much so it's ultimately not much of an issue.
Some in the industry use the phrase "golden handcuffs" to refer to having to pass on or not seek further opportunities that involve more risk but may also progress your career further because of the responsibility of having a family. Do you feel like you're in a "golden handcuffs" situation? What's your opinion on this outlook?
I understand the situation, and to a degree, yeah I'm in what some would describe as a golden handcuffs situation but I'm not going to let that be an excuse to not progress. I hear people lay out how a career path in features or scripted is supposed to go and the implication is that it's an insurmountable task. I disagree. I might not be doing it the "traditional way" (which I think is a myth anyway). But I feel like there's a way, and I'll figure it out.
What other challenges do you have with balancing a film career with a child?
Like many other careers, networking is what really gets you ahead. In LA, there are 'mixers' or creative user group meetings constantly. You can probably find something to do every night of the week. So, that's just more time away from home outside of the job. Very important to do, and they're mostly enjoyable, and/or educational and necessary. But it does take more time away from home.
Does Riley understand if you're not around or busy for periods at a time? What do you hope he learns from seeing your work?
He definitely understands when I'm not around. I hope he learns to set goals and work hard to achieve them. I also hope he learns that ultimately I love what I do for a living and that is an important thing to consider when choosing a career as how much you'll make.
Despite the challenges of parenthood, what are the positives to having kids? What makes it worthwhile?
The positives to having kids are the actual kids themselves. This little human that looks like you that you get to teach and shape and learn from and laugh with and hopefully get to visit when you're old and retired.
What is your advice to someone in the industry who is considering having children, but is worried about being able to have a career and a family?
Your parents did it, your grandparents did it, your great grandparents did it. People all around you are doing it and have for countless generations. It's as simple as making a choice and then figuring out how to make it work. I will say though that I simply could not do this without my amazing wife and partner Nancy. She makes this whole endeavor possible by doing everything that she does to make sure that our home lives and Riley's life goes as smoothly as possible. She was also an integral part of the decision and drive to move and therefore continue to chase a career in this crazy/awesome industry. So, my one piece of advice is to pick a partner who shares the same vision as you when it comes to work/life balance.
As someone who has (relatively) recently entered the Indianapolis post-production market, it's inspirational to me to hear Tim's perspective on family. His bold cross-country move and subsequent success just goes to show that with the correct outlook, the right partner, and a combination of talent and hard work, you can accomplish many goals that superficially might seem to conflict with each other.
Tim's recent credits include Through the Wormhole with Morgan Freeman for Discovery Science, Best Parks Ever for The Travel Channel, American Ninja Warrior for NBC, and Face Off for SyFy. He's currently cutting a competition reality show called Hot Set, which you can catch on SyFy on Tuesdays at 9PM ET. Tim can be found on Twitter at @twilsbach.
This is an on-going post-production diary I'm keeping while I cut my first feature film, The Impersonators, an indie comedy.
To my delight, this year has been filled with many opportunities to get advice and tips on editing from some of the top editors in the world. Between NAB
, and the weekly Twitter chat #postchat
, I've been up to my ears in wisdom on cutting film and television.
Of course, in central Indiana I'm pretty well saturated in corporate video work, so I was getting all these amazing pieces of advice thinking "Well, I guess I'll write it down so maybe someday when I edit a film, it might be useful."
Well crap, here I am.
And when I last left off, I was embracing the idea of failing
and learning along the way, all the while wondering if Avid would even cooperate with me. I'm happy to report that once I figured out how to get my footage into Media Composer, it's been pretty smooth since then. I was a little shaky at first, re-acclimating to Avid. I've used FCP7 all day (most days) for the better part of the last 4 years, and I've not had my hands on an Avid for more than some small things. I spent an hour reviewing Class on Demand's Avid for FCP Users to re-adjust my thinking, and then I was doing fine.
My rough cut is at about 25 minutes run time right now and I've hit no major issues in the edit. Everything is organized. It's a nice little sanctuary. I've had a few fairly complex scenes already, but my mellow has not been harshed yet thanks to some thoughtful words from the elder editors among us.
Sage Advice #1: "@kyl33t Cut talky scenes first with camera on each person talking so that everyone gets their say. Then go through and overlap etc #postchat" - John Lee (@godbolt), via #postchat September 5, 2012
One of the most complex scenes I've ever cut happened last weekend. It takes place in a conference room and consists of 10 different characters having a fast-paced discussion. There were a lot of takes, 6 or 7 different setups, and some other challenges that I won't get into just yet. I needed to find and accentuate the best performances, find the best reactions, and figure out the rhythm of a scene with so many people who were just sitting around talking.
A few weeks ago, #postchat's special guest was John Lee
, who was involved with the editorial of amazing films such as The Matrix, The Prestige, and Inception. John was kind enough to answer our many questions for the hour, and he told me to give every character their say, then worry about overlapping and everything else. Simple, but I've not cut a lot of dialogue before. When I cut shorts in the past I kind of did this but tended to jump into the refinement, which wasn't that big of a deal since it was short. A long scene? Many scenes? That could be difficult.
So I decided to make an effort to take a segmented approach: get it in the timeline, then find the pacing and overlapping and trims, add it reactions, etc. A little at a time.
Since I had already sorted everything and marked my favorite takes, I was just pulling from what I knew was the best. And then I had the scene cut far earlier than I expected. Does it still need work? Hell yes. Is it going to change drastically? Yep. But was I uncharacteristically happy with a rough cut? Yes I was.
This advice is so simple, yet so helpful. Especially to someone who cuts mostly unscripted and works in a much different way trying to assemble pieces. Narrative is a whole different thing. I love it.
Sage Advice #2: "Always be solving! Black holes in a time-line need to be solved. Leaving them unattended weakens your story. #cutting" - Steve Audette
At Post Production World at NAB, I spent some time in Steve Audette's
documentary sessions. Much of my day job consists of editing things that aren't scripted, so it's been pretty damn helpful already. But even though I'm cutting a narrative piece and not a documentary, I've been keeping this in the back of my mind when I want to just leave a part to figure out later: don't leave black holes in your timeline.
I know as I continue the rough cut that I'm leaving areas where the cut is weak or needs more thought - that's just the nature of a rough. However, as I'm going through, I'm not leaving anything completely undone. I feel like if I leave problems until the end, they'll all gang up on me to frustrate me. But most of all, if something truly isn't working in the edit, it's a big early indication that something might not be working overall, and that seems like it will radiate down stream in the story.
By not leaving any big problems to solve later and at least offering a contingency for issues, I'm making sure that I have SOME solution to offer. Plus, I don't want to spring 5 different unsolvable problems upon the director after I finish my first pass.
(And this advice happens to be a tweet because I can't find a direct quote from the sessions, but it was basically the same idea.)
Sage Advice #3: "The first cut is like a fat woman falling down the stairs" - Jeffrey Ford ACE at Editfest NY, 2012
Ah yes, now the title of the blog post makes sense. Here's the biggest thing with the rough cut to me: it's going to suck. I mean, it might not be the worst thing ever (I hope it isn't). I was even pretty happy with the first cut of that scene I mentioned. But there are other scenes that pretty much just suck. And when I watch the first cut again later after picture lock, I'm going to think "holy crap, that sucked!"
The hardest part with a rough cut is knowing that it's a rough cut and not trying too hard to make it perfect on the first pass. It's going to make a better movie if you work through it and have a little patience with yourself (but not too much patience, we do have deadlines, hurry up, jeez!) The rough is rough, but it's assembled. When it's all together, you can see the story emerging, and the issues arising. It's such an important part of the process, but it's also one that can be frustrating as hell. I just want to see it perfect!
I think if you make peace with your rough early on, it'll be a happier cut because you won't be reflecting your frustration onto it. It will benefit from my knowledge of the scenes on either side of it - because those are often the scenes that determine if it works. I've tried hard to keep that in the back of my mind.
And sometimes the fat lady needs a light shove in the right direction, and I'm perfectly willing to do that.
(Jeffrey Ford is a super cool guy. One of the most chilled out editors I've ever met.)
BONUS: "HULK THANK NETWORK GUY FOR TODAYS WORDS OF WISDOM:COMEDY IS FUCKING HARD IN AN EDIT BAY. SAD BY GUY WHO SPENT 12 MINUTES IN EDIT BAY." - @AvidEditor_Hulk
I've cut comedy shorts before, and horror shorts and other types of shorts. Comedy is the most difficult to cut, I think. You can ruin a joke with a bad cut. You can save an iffy joke with a good cut. The timing of the editing becomes another voice in the film. Developing my sense of comedic timing as it pertains to this film has been interesting, and trying to get a handle for maintaining a humorous tone with a good pace during a much longer duration has been a great challenge so far.
So far, so good. I've benefited greatly from the advice of those around me and I'm grateful for a community of people who share things so eloquently.
And just for fun, I'll throw in the teaser again. Just because it's suddenly hit another wave of popularity and will surely be hitting 11,000 views today!
Since we met up at NAB in April, Kes Akalaonu
and I have been working on developing a podcast, which was unleashed upon the world this weekend. The Track Matte Moment is a podcast filled with an honest conversation about making mistakes, straight from editors and visual effects artists.
You can find episode 1 in which editor Joel Yeaton talks to us about the trials of jumping into a new NLE and dealing with DSLR footage on our tumblr page
. We're still working out the kinks, so expect things to slowly improve in terms of quality and delivery methods.
What's a Track Matte Moment?
It’s that moment when you realize your workflow sucks. That instance when you look at your comp and realize you went about it all wrong. The epiphany when you realize you should have said something different in a production meeting. A Track Matte Moment is that moment of post-project regret when it hits you that you could have done something faster, better, more efficiently, or with less stress.
The name comes from a tweet from Kes a few months ago, where he realized he could have completely enhanced his project if he had just used a track matte from the beginning. I thought it was an awesome concept to apply to all aspects of post, and here we are.
A Track Matte Moment isn’t necessarily a failure - yours could come as you complete a successful project and take a step back, look at it, and think to yourself “It would have been better if I had done this.” It’s all about growth in your craft.As we develop our first Moments, we’re welcoming feedback to help develop this series into one you want to listen to! We want to keep them short, fun, and reflective. Our hope is to have a library where people of all experience levels can listen to editors talk openly about issues or mistakes, so that they may be educated and entertained.
And guests get the opportunity to use The Track Matte Moment as a confessional, to atone for their post sins.
I hope you'll give us a listen, and perhaps volunteer to be a guest!
This is an on-going post-production diary I'm keeping while I cut my first feature, The Impersonators, an indie comedy.
Before the failure, a success: the first teaser trailer was released a couple days ago:
And now the rest.
As I moved through the motions of being my own assistant, I hit my first point of utter frustration. Not even a clip in the bin yet and hair was threatening to be pulled out. I wasn't exactly punching walls, but it was irritating me exponentially.
For the purpose of hopefully offering someone some insight on this, I'll remind you I'm working with Avid Media Composer 6.
Avid's error messages are scary, and I've seen a lot of them now. My issues seem to be well documented on forums but with no actual solutions, which is maddening. Some things work for people, but not for others. There's no consistency like with most issues I research. I'm documenting my experience for the next person that has to do this, so maybe they'll come to the understanding that it isn't something that is entirely THEIR fault, necessarily.
The production was shot on hacked Panasonic GH2 cameras. It's a pretty common thing to do these days. I have folders of AVCHD media arranged on my external drive (.mts files if you're newer to this or possibly looking for a solution to your own issues.) I've worked with AVCHD before so I knew of the potential pitfalls, but I've always been fine when using the Log and Transfer tool in FCP7. This was my first adventure into AVCHD in Avid Media Composer, so of course it has to be with clips that may not be entirely standard as far as codecs go.
Here's what happened. After the project was created, I'd link to the files via Avid Media Access (AMA) and they'd show up in my bin. My first issue occurred when simply trying to play them in the source window. They'd play for a second, then I'd get an error to the effect of "ASpringbuffer". Then it would stop responding and I'd have to force quit.
I tried again, going right to consolidate/transcode without trying to play back the files through AMA. I set up the transcode to DNxHD and let it go on a batch of maybe 10 files. The status bar would hang for a while, then beach ball of death, then an "upstream pipe" error.
At first, I figured it was because I was using a little USB 2 drive just to test out a couple clips while my new g-tech drive was being shipped. But this remained consistent after I was hooked up to the 7200rpm 2TB drive via eSata (maybe I should try this with Firewire 800 just to rule out eSata being weird?) At this point, forum posts I've seen mentioning this error have people speculating that it's either the hard drive unable to keep up with Avid writing files, or it's the GH2 hack affecting the audio side of things on the clips, making Avid unhappy. I tried changing some settings to make Avid happy with the audio and nothing changed. The most frustrating thing about this is that on the forum posts, sometimes these clips work totally fine for people. The original poster will share a clip, and subsequent repliers will be able to AMA and transcode it. Then the next person in the thread will get the same upstream pipe error. Then someone else will change a setting and it'll work, while the next person will change the same setting and it won't work. Nothing online has a definitive answer.
I sent a tiny clip to two trusted Avid editor friends to see what would happen on their system. Same thing. Asked a few more, including some helpful COW people. No clue.
So now I've pretty much narrowed it down to either being a software or a hardware issue. YES, I know, I'm so helpful.
My next thought was to say "eff it" to AMA and try to just import the clips and let Avid take a century to transcode them that way. So I tried that with ten files from another folder within the drive. At first, it seemed like it was working. Then after one clip, an upstream pipe error.
Well, ok then.
So at this point, I had no easy way to get these clips into MC. I knew they were fine because Premiere was importing and playing them back relatively fine, if a bit choppy at times though to be fair they are massive. I didn't really push Premiere to do anything beyond just importing, but I'll give it credit that it actually worked. I decided to see if FCP7's Log and Transfer tool would like them and opened that up. (As a side note, one or two of the card volumes wouldn't mount in there because the person wrangling the media was messing around with the card structure. One of my folders is JUST mts files without the metadata. What a pain. Camera people: DON'T DO THAT.) So I mounted a volume and transferred three clips, transcoding them to ProRes 422. It was fast and it took the files, and they looked good and played back great.
Then I had a moment where it was 1 AM and FCP7 was about to seduce me into cutting in there. It was just so familiar. "Come here, have a cuddle."
No, I really need the extra practice in Avid, and FCP will forsake me later for sure anyway. As I make OS updates, it gets worse and worse. Premiere is an option, but like I said, I'd rather go with Avid for my own sake. I took the ProRes clip that FCP made and transcoded it to DNxHD, and it fast imported into Avid. I briefly considered doing this for every clip - renaming them by scene and take right there. It wouldn't matter since I'm doing all the finishing within my Avid, more or less, no concerns about relinking or sharing. But among other reasons to not do this, it seemed like a LOT of extra time spent transcoding things twice. And a lot of messing around with disk space allocation.
I should throw in an aside here that it was after midnight and I posted my frustrations on Twitter and instantly had four people giving me their opinions or advice, or at least trying to troubleshoot. That's awesome. I love you all.
Anyway, my next move was to obtain Clip Wrap and try that out. I used it to transcode a file to DNxHD. It worked and fast imported into Avid as expected, played back great. Yipee. The only issue is I have 12 folders of media that I need to transcode, and they don't have unique filenames (meaning, in Card 1 there's a 001.mts, and Card 2 there's a 001.mts) so if I loaded all of these into Clip Wrap, I figured there'd be some funkiness where it's re-writing, overwriting, or just crashing when it hits those files. There's no way to batch them and I wanted to let it run overnight. And I didn't want to rename the source files.
So instead of transcoding in Clip Wrap, I simply re-wrapped a couple of folders worth of files since that takes just a couple minutes. Out of curiosity, I tried to AMA link to those files (which didn't work). Figures. So I opened up Mpeg Streamclip and set up a batch list to transcode 2 folders of files. In the batch list, you can have files being sent to different places, unlike in Clip Wrap where everything has the same destination folder. Plus I pretty much trust Mpeg Streamclip with my life anyway, so it seemed like a safe bet to let it run overnight without error.
The transcode takes for-freaking-ever as you'd expect with all this media, but it worked. I then took those and am currently fast importing into Avid, which also takes for-freaking-ever but not in the same way. They should totally not call that fast import because it makes me expect it to be faster. Maybe "easy import"? "Slow and steady import?" Anyway, they are all importing correctly, mxf files being created, everything plays back fine and looks good. The transcoding and fast importing time so far has exceeded 20 hours. It'll probably wind up closer to 30. I absolutely see why people are taking Premiere more seriously. That's a lot of downtime for your system JUST to get the media in the NLE. But I'm assuming I'll make back this time later in by not having to troubleshoot Premiere. If this was something I needed to turn around fast, I would have to use Premiere, no doubt. I also see the benefit of something like the KiPro, recording natively on set.
But ya know, if anything else goes wrong with this, I'll have to bail and go to FCP7. I'm willing to troubleshoot Avid for a while - that's a part of the learning experience. But when it gets past a certain point, it's time wasted.
So for my workflow, this will work. But what if I needed to have an edit that can be relinked and moved and shared among facilities? What would be the solution? I'm not really sure, and I'd love to know. I really think it has to do with the codec not being perfectly standard. There's just one little thing in there that's making Avid sour. At first, I thought it was a disk speed issue. Maybe it's a combination. But really, I think it's the fact the files are just a little different. Regardless, this has been really educational already. And I have the feeling my permanent tension headache will subside soon, as I tried editing a few clips into the timeline as a test and everything suddenly was familiar again.
Another side note. The teaser trailer I posted in this blog was cut in FCP7. I knew exactly what scenes and takes I needed, so I was able to go into Log and Transfer and quickly grab my handful of media and go to work. While editing this teaser, Log and Transfer actually crashed FCP 28 times over not that many hours worth of editing. So Log and Transfer really doesn't like these clips either. Even if I were in FCP7 I'd still have hours of transcoding via Mpeg Streamclip, just to ProRes. But no importing into FCP. However, much less robust media management.
When I was getting ready to start this project, I asked around for advice and tips on setting things up or exploring the depths of Avid. One editor friend gave me the best insight so far. Paraphrased: Embrace failure, because every time you screw up now is a time you won't screw up in the future.
Anyway, now that I've got that sorted out, I can finally start to sync and cut. More opportunities for failure lie in my reach!
I'm currently working on a training video with a lot of text clips in the FCP7 sequence and I needed to change the color of all
of them. After a quick Google search to make sure there wasn't some elegant and quick way to do this since you can't copy and paste text color attributes in FCP7 (at least with FCP7's text, I didn't test the others like Boris because I didn't use them), I figured I'd write up a quick guide in case anyone is looking. This is pretty simple once you know what you're looking for, but it can be intimidating because you have to use XML.
First, open the sequence with the text you need to replace. Then, go up to file, export, and XML. Save this file somewhere.
Now, open the XML file in a text editor like TextWrangler. I think TextEdit has gone to hell with Lion, but if you edit in there make sure it's not in rich text mode.
Now you'll need to find an instance of the old text color. I colored the first clip with the new color before the XML export so I'd be able to get the RGB values from that instead of looking them up in Photoshop or wherever. If you know the RGB values, you don't really need to do that.
Look for something like this within a text element - fontcolor, specifically is the parameter.
Copy and paste it that little bit into another editor window. Then go to the next instance of this code, which should be the second clip and your old color. Copy and paste that too. So you'll have code with the new color, and with the old color. You only really need this little bit with the RGB/Alpha values, to keep it simple.
Now, go to find and replace.
In the "find" field, paste the code for the old color.
in the "replace" field, paste the code for the new color.
Now hit replace or replace all.
Now save the XML file. Make sure it saves as a .xml file.
Go back to FCP7 and rename your sequence - maybe add "-old color" or something to distinguish from the new sequence.
Now to go Import > XML and go through the dialog box. A new sequence that's named the same as your previous one is in your bin.
Open it up and it should be exactly the same as before, but with the text changed. TA DA.
Note that this only works to pretty much change all of one color to all of a different color. If you only need part of the sequence changed, you'll have to make a judgement call as to if this will save you any time. Or copy/paste portions into a new sequence and use that, then paste it back?
You can do a lot of other things with this simple find/replace of code, like changing the font color en masse or something like that.
So there you go. That's one way to change all the text color in FCP7. It might be the only way, I'm not 100% sure.
Post officially began the day before the production wrapped, which also means my sleep schedule has officially switched from iffy to erratic. Perhaps the toughest thing about having a creative side project for me is that I tend to work best on these things very late at night. That doesn't really mesh well with a day job you have to get up in the 5AM hour, but sleep is for the weak. That being said, prying yourself away so that everything else in life doesn't suffer is easier said that done.
As I said in the first post, I chose Avid MC6 to cut this for a number of reasons, one of which is so that I can gain the same level of fluency I have in FCP7. Honestly, it's irritating when people tell me that Avid and FCP are "basically the same." That's just not true. Sure, editing is editing, but when you can't remember which button to hit to make the thingy move to the other thingy, there's nothing more frustrating. Creative flow is killed. Not to mention the way Avid handles media is a lot different. It's just a different mindset from start to finish, and you have to be careful or you could really mess things up.
Earlier this year, I started experimenting with remapping my FCP7 keyboard to include more Avid-y shortcuts (and some additional rearrangements I picked up from Scott Simmons
). I had a hard time at first. When I got certified in FCP6, I had to memorize the default shortcuts, and those became the shortcuts I used on a daily basis. For better or for worse, I have a crazy muscle memory for these shortcuts. But I like working the "Avid way", so I switched my keyboard configuration.
I failed at this hard. It was too much. I switched back to my happy FCP7 defaults within hours.
I shared my failure with my friend and fellow editor Meaghan
over brunch after Editfest
. Among a plethora of great advice about a number of things, she suggested changing only a few keys each week to transition to a more effective layout.
Duh. It seems so simple. So I did just that. And guess what? It worked. I realized this last week when I opened up Premiere CS6. I don't use Premiere a whole lot, but I set it to the FCP7 default keyboard earlier this year when I upgraded from CS4. I was crippled! Success!
So basically, I've got mostly Avid shortcuts in FCP7, mostly FCP7 shortcuts in Premiere, and uh…Avid shortcuts in Avid with a few FCP7 holdovers. This is all very strange, and you better believe I carry every configuration with me or have it stored in my Dropbox for when I use another editing system. At this point I could probably adapt from one default to another pretty easily (except Premiere's original configuration which is weird) but it just bugs me when I can't work at maximum speed.
After nearly 4 years of using FCP7 on a daily basis for my full-time job, it's been hard to break my habits. Like learning to walk again. It's frustrating because you know you can and you've done it all before, you just need time and persistence and practice to get back up to speed. It's a long process of learning to walk again.
Anyway, keyboard shortcuts aside, I'm still acclimating back to the Avid way of life. I've been here before, but not on this scale. I've been learning boatloads about DNxHD, trying to sift through piles upon piles of opinions on the best way to handle media. I've been watching every each take and cross-referencing the script supervisor notes to skip over useless ones. The notes have been so accurate that my review has been super fast. In my notebook, I've been making notes on usable takes - which ones made me laugh, if there are reactions within shots that might be usable in other contexts, things like that. This week, I'll finish up with the assistant editor tasks and dig into a teaser trailer for the film. I'm getting really really
excited about cutting this film. There are so many opportunities to apply what I've learned from top editors over the last year. The film was DP'd by David Brewer
, and it looks amazing. There are some great comedic performances that are about to emerge. I can't wait to start putting scenes together. My day job edits have been piling on more than ever, so I've been spending more hours in my day staring at an NLE than anything else. Figures, feast or famine.
One thing I did outside of organization within the software is a notecard storyboard. I'm a really visual person (obviously) and I've always heard of editors doing this so I figured I'd give it a try. I was already referring to it before I'd finished with the dailies. It's definitely going to be a really helpful tool. Because I'm also a list-checker-offer, I plan on sticking a colored post-it on each scene when I finish cutting it, among other color coding. I love color coding. It will be motivational.
Now that I've talked all this about Avid, people that follow me on Twitter will know that I've been having massive issues getting this footage into the Avid at all. I believe I have a workaround - a crappy, long-winded one, but still - but I'll save that whole debacle for the next blog so I don't jinx myself.