Friday, March 2, 2012

[Avid-L2] Re: OT - Post production issues affecting the cinematographer"

This situation sounds as if it originated in one of those idiot Craigslist
ads we all skewer on a too-frequent basis. I don't relish seeing someone in
a difficult situation such as this, but he (and the people above him in the
food chain) got what he deserved. He'll be less likely to make those
mistakes again.

"Look at demo reels with a better eye..." doesn't mean much anymore.
iMovie, FCX, even Avid AMA can all hide egregious workflow errors,
especially if footage has been heavily effected. A finished product often
bears no resemblance to the road by which it traveled. The best advice is
still what Mark (DS list) wrote in larger type: "Good, Fast, Cheap. Pick
any two."

----
*john heiser | senior video editor*
*o2**ideas*
birmingham, alabama, USA
http://vimeo.com/johnheiser

On Fri, Mar 2, 2012 at 11:48 AM, Jeff Krebs <rockinjeff@gmail.com> wrote:

> Tend to agree...
> Very interesting post found on another list.
> hmmm other lists deal with the same issues.
>
>
> On Fri, Mar 2, 2012 at 12:41 PM, Mark Hollis <mhollis55@gmail.com> wrote:
> > Firstly, let me respectfully disagree with the first part of point 1.
> > "Getting your money back" is not going to happen. There is not a small
> > claims court or a judge that will hear you. You hired the dope, you
> agreed
> > to payment, either for the job or for an hourly rate and then you went
> ahead
> > and failed to supervise what was going on sufficiently to ensure you
> would
> > get a good job. Lacking a contract, all you have is a "verbal" agreement
> or,
> > perhaps a written agreement to pay an hourly rate or an amount for a warm
> > body. In that "Dopy" there didn't do a splendid job for you, there is a
> > cause to never hire the idiot again but there is usually no recourse.
> > Check's been cut. Write it off to your own stupidity and don't do that
> > again.
> >
> > Firing everyone is just fine. Next time you'll hire better; look at demo
> > reels with a better eye for detail, ask around about the potential
> editor's
> > bonafides and so on.
> >
> > I love point 2, but it's probably not going to happen. Why? Because we
> have
> > "cheap producer." And he's so cheap he won't hire anyone who is
> competent.
> > Look at his first try for proof. 3-6 are also probably not going to
> happen
> > because a "cheap producer" is another phrase for ignoramus.
> >
> > Here is the rule for creative film and television—and burn this into your
> > brain, buddy-boy:
> >
> > Good, Fast, Cheap. Pick any two.
> >
> > You can get fast and cheap (and this was probably the case) but you won't
> > get good.
> > You can get good and cheap, but it won't be fast.
> > You can get fast and good. That, "cheap producer" won't be one of your
> > choices, because it won't be cheap.
> >
> >
> > On Mar 2, 2012, at 12:25 PM, Jeff Krebs wrote:
> >
> > Sorry for the cross post I know this would of interest to both Avid
> lists.
> >
> > This is a captured thread where some cheap producer hired some hack
> > editor and the so called editor screwed everything up. So now the
> > Producer has asked his DP to find someone to fix it...
> > I love the response below from a guy named Jesse.
> >
> > -=-=-=-=-=-=
> >
> > First of all-
> >
> > 1) Get your money back. Fire everyone who did the work so far. Editing
> > is not a DIY learn-as-you-go profession if you are charging money.
> > Severely revisit your choices you made when you hired these people.
> > This kind of compounded ignorance is just an embarrassment to everyone
> > else who makes a professional living doing things correctly.
> >
> > 2) Hire an experienced post-supervisor or editor to take over, someone
> > who has fixed this kind of problem before. It sounds as if you have
> > been blind sided by people who do not know what is going on, and this
> > often means that YOU might not really know all the problems you have
> > with your timeline. So, find someone, and pay them - to know the work
> > better than you, and be the guarantor of the final quality of the
> > film.
> >
> > 3) Go back to the sequence that was generated for the sound
> > designer/composer. You must decide upon a sequence that represents the
> > "best" visual representation of your film, and the one that you handed
> > off to your composer seems like the best one.
> > 4) Render this "best timings" example and export a same-as-sequence QT
> > at 2997. This is your blueprint.
> > 5) Copy-paste all the clips of your good sequence into a 2398
> > timeline, edit in the "Blueprint" qt on the top layer - make it 50%
> > opacity so you can see the template above and the timeline clips
> > below.
> > 6) Fix it all by hand. There is no other solution. Shot by shot,
> > edit-by-edit. Reinstall all transition effects. This is hand-job
> > because EDLs and EDL translation programs simply cannot make all the
> > judgement calls necessary to fix your timeline. In 2997 timeline, your
> > clips end on frames numbered 24, 25, 26, 27, 28, 29 - numbers that do
> > not exist in a 2398 timeline. Even a smart edl program will leave you
> > with timing errors, gaps.... these just need to be weeded out and
> > checked by a human.
> >
> > I am sorry you have been screwed by so many ignorant folks - But
> > there's not much that can be done when people do fundamentally stupid
> > work like this, except to remind everyone that most people out there
> > in the post world are not really editors - they are hacks with
> > laptops.
> >
> > Finding, hiring, and investing in relationships with real,
> > knowledgable Editors is the only way insure your work is not
> > sabotaged. Caveat Emptor!
> >
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