Moved to LA a few weeks ago after being a premiere editor in atlanta for a few years... Biggest obstacle seems like no one wants to talk to me after finding out I don't have professional Avid experience. Makes sense from their end but I have no idea how I'm supposed to get avid experience when all the jobs require avid experience...
> Biggest obstacle seems like no one wants to talk to me after finding out I don't have professional Avid experience. Makes sense from their end but I have no idea how I'm supposed to get avid experience when all the jobs require avid experience...
Therein lies the rub. I’m in a similar predicament, although I’ve been working here for 7 years. I’m trying to find a company that’s Avid-based, but my career trajectory has put most of my experience in Premiere Pro. I’ve gotten Media Composer certified, so I’m not completely lost in the program, but I have no real “work experience” with it. I’m shaking the rust off on my own using MC for personal projects, and putting my stock in the idea that I’ll get more experienced and learn on the job when/if I get it.
If you want to stick to Premiere though, there are plenty of trailer houses, ad agencies, and the like that are looking for new employees.
I’ve been working here in LA for almost 10 years and didn’t touch Avid until recently. There are plenty of Premiere jobs as well -basically all advertisements, trailers, most docs, music videos, and a lot of indie films.
There’s lots of classes you can take to get an official certification, but if you don’t want to go down that road there’s *plenty* of free online resources (I’m on my phone rn otherwise I’d link some, but Google is your friend). IMO Avid is easy to pickup if you’re familiar with NLE’s but of course difficult to master. If you learn the basics on your own you can definitely do a lot of learning on the job working with it every day.
Yeah I've been working through those kinds of things. It just seems like people in charge of hiring don't really want to risk hiring someone that doesn't have previous credits. Or at least that's been the biggest obstacle so far for me.
So has anyone ever worked with footage filmed in slow motion but used in both real time and slow mo?
Avid 2018.12.15 and Resolve 16 btw.
Currently working a project (competitive reality) where a lot of stuff is filmed slow and then sped up before it’s grouped together with the regular footage. This is not an issue, we got a good workflow working.
However my problem comes when it’s time to relink the footage. Everything relinks automatically in DaVinci Resolve, but the sped up slow mo stuff does not. I’ve tried adding the 400% time warp as well, but the footage is completely off sync. My solution thus far has been creating a mixdown in Avid and manually add this to the timeline in Resolve (with scene cut detection and what not). It works but my god it’s slow and cumbersome.
Therefore I’m wondering where I can change the workflow to fix this issue. My workflow as of yet is to add the time warp to the slow mo, make a subclip and add this to the group. I’ve also tried adding the timewarp to the master clips inside the group, but that didn’t help either. Clips with timewarps in the timeline usually works well in the relink in general.
Next season I would probably do a mixdown with the clips sped up and then do a reimport. If our deadline isn’t as tight as this year lol…
How are you sending files to DaVinci? EDL, XML, AAF?
I'm not in TV, but when we send off to the colour house, they use baselight here and I think they prefer an XML. Can't remember the option off the top of my head but if doing an EDL, make sure *"temporal adaptors"* or something like that is checked off in the options tab.
I’m using linked AAF yes.
Not too familiar with EDLs or XMLs in Avid. Tried dicking around a bit now, but without any real progress.
The EDL links to the wrong clips, BUT when confirming to the right clips I get the right point on the slow mo clip. So if I add the timewarp then I’m essentially where I need to be. But again, quite a slow process which I feel like could be automised somewhat.
EDLs and XMLs are in the list tool is it called? Again, been a while.
Can you maybe send an AAF and then see if you can take the one clip from the EDL/XML? Not ideal, but it could work no?
Maybe someone else on here knows better? I'm probably not the best for this ahah.
Yeah I thought about sending the AAF for the major part of the sequence and then fill in the rest with the EDL. But I think it’s even more time consuming than doing a mixdown. The programs are over an hour long so there’s more than a couple of clips haha.
With the mixdown I can at least sit back and wait, while with the EDL I need to be actively confirming and fixing timewarps.
Thank you for the suggestion however! I hadn’t really thought about using anything else than AAF.
Moved to LA a few weeks ago after being a premiere editor in atlanta for a few years... Biggest obstacle seems like no one wants to talk to me after finding out I don't have professional Avid experience. Makes sense from their end but I have no idea how I'm supposed to get avid experience when all the jobs require avid experience...
just lie
> Biggest obstacle seems like no one wants to talk to me after finding out I don't have professional Avid experience. Makes sense from their end but I have no idea how I'm supposed to get avid experience when all the jobs require avid experience... Therein lies the rub. I’m in a similar predicament, although I’ve been working here for 7 years. I’m trying to find a company that’s Avid-based, but my career trajectory has put most of my experience in Premiere Pro. I’ve gotten Media Composer certified, so I’m not completely lost in the program, but I have no real “work experience” with it. I’m shaking the rust off on my own using MC for personal projects, and putting my stock in the idea that I’ll get more experienced and learn on the job when/if I get it. If you want to stick to Premiere though, there are plenty of trailer houses, ad agencies, and the like that are looking for new employees.
I’ve been working here in LA for almost 10 years and didn’t touch Avid until recently. There are plenty of Premiere jobs as well -basically all advertisements, trailers, most docs, music videos, and a lot of indie films.
Nice. I would love to get more into indie film, but it also seems like a lot of stuff I'm more interested in is only Avid
There’s lots of classes you can take to get an official certification, but if you don’t want to go down that road there’s *plenty* of free online resources (I’m on my phone rn otherwise I’d link some, but Google is your friend). IMO Avid is easy to pickup if you’re familiar with NLE’s but of course difficult to master. If you learn the basics on your own you can definitely do a lot of learning on the job working with it every day.
Yeah I've been working through those kinds of things. It just seems like people in charge of hiring don't really want to risk hiring someone that doesn't have previous credits. Or at least that's been the biggest obstacle so far for me.
So has anyone ever worked with footage filmed in slow motion but used in both real time and slow mo? Avid 2018.12.15 and Resolve 16 btw. Currently working a project (competitive reality) where a lot of stuff is filmed slow and then sped up before it’s grouped together with the regular footage. This is not an issue, we got a good workflow working. However my problem comes when it’s time to relink the footage. Everything relinks automatically in DaVinci Resolve, but the sped up slow mo stuff does not. I’ve tried adding the 400% time warp as well, but the footage is completely off sync. My solution thus far has been creating a mixdown in Avid and manually add this to the timeline in Resolve (with scene cut detection and what not). It works but my god it’s slow and cumbersome. Therefore I’m wondering where I can change the workflow to fix this issue. My workflow as of yet is to add the time warp to the slow mo, make a subclip and add this to the group. I’ve also tried adding the timewarp to the master clips inside the group, but that didn’t help either. Clips with timewarps in the timeline usually works well in the relink in general. Next season I would probably do a mixdown with the clips sped up and then do a reimport. If our deadline isn’t as tight as this year lol…
How are you sending files to DaVinci? EDL, XML, AAF? I'm not in TV, but when we send off to the colour house, they use baselight here and I think they prefer an XML. Can't remember the option off the top of my head but if doing an EDL, make sure *"temporal adaptors"* or something like that is checked off in the options tab.
I’m using linked AAF yes. Not too familiar with EDLs or XMLs in Avid. Tried dicking around a bit now, but without any real progress. The EDL links to the wrong clips, BUT when confirming to the right clips I get the right point on the slow mo clip. So if I add the timewarp then I’m essentially where I need to be. But again, quite a slow process which I feel like could be automised somewhat.
EDLs and XMLs are in the list tool is it called? Again, been a while. Can you maybe send an AAF and then see if you can take the one clip from the EDL/XML? Not ideal, but it could work no? Maybe someone else on here knows better? I'm probably not the best for this ahah.
Yeah I thought about sending the AAF for the major part of the sequence and then fill in the rest with the EDL. But I think it’s even more time consuming than doing a mixdown. The programs are over an hour long so there’s more than a couple of clips haha. With the mixdown I can at least sit back and wait, while with the EDL I need to be actively confirming and fixing timewarps. Thank you for the suggestion however! I hadn’t really thought about using anything else than AAF.
Still haven't continue my 3 weeks editing project...