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A documentary about FCPX’s target audience and how they’re disrupting the creative profession
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[Gerald Baria] ” ITS TALENT, PERIOD.”
But, that’s not the premise of the documentary. In fact, the doco makes the point that lots of talent is now being wasted or simply lost in the shuffle of too much so-called art that isn’t.
And, anyone who thinks “five decades of experience” is useless, is someone without much experience, who has no understanding of the wisdom one gains over that period, nor of the value of wisdom when it comes to storytelling.
Anyone can shuffle pretty pictures and sound around until they work together coherently, but developing and communicating meaning requires a knowledge of meaning, and that is seldom an innate, God-given talent.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Producing Episodic TV with “24” Producer Michael Klick:
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Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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[David Roth Weiss] “And, anyone who thinks “five decades of experience” is useless, is someone without much experience, who has no understanding of the wisdom one gains over that period, nor of the value of wisdom when it comes to storytelling.
“This is a bit of wishful thinking on Gerald’s part. It so much easier if you don’t have to learn things.
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[Chris Harlan] “It so much easier if you don’t have to learn things”
You mean, like new “paradigms”?
Here’s a story I saw on a twitter feed (Roger Ebert)
https://entertainment.salon.com/2011/10/01/creative_class_is_a_lie/?source=newsletter
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I was, of course, being facetious. IMHO, Gerald has a rather optimistic view of the new freedom and the new power the new tools bring to the new creatives.
Interesting article, btw, though I think it lacks a little perspective. The “creative world’ has always been a bit dicey.
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A lot of points was raised ,Its one of the topics that was delved into in the documentary, that even with all these access to the same tools that real, long time pros have, there are still so much crap on the internet. Its because a lot of these people does not have talent.
Its a kind of security blanket to all the people currently making a living doing creative jobs that there is still hope that even if more people are getting access into how their jobs are done, there is still a chance to sell quality work because not everyone can make good poop. Most just makes poop.
On the other hand, those that are on the other side of the coin, who have so much talent and bringing in their product like everyone else does, they risk the chance of not being recognized enough because of the sea of poop that they have to get into to get noticed.
Yes of course experience contributes into the quality of work that you eventually gets out of, but with art or the creative industry, things constantly change. Tastes change. Whats relevant 50 years ago, looks ridiculous now. And thats where raw talent seeps thru, that with the latest trends in the creative industry, those that were born into this and have their minds melded into the present and the hear future, those are the ones who will succeed “today”. Tommorrow they may not. the ones successful yesterday may not too. They could, but there’s no guarantee. Cause the arts is that volatile.
Quobetah
New=Better -
“Cause the arts is that volatile.”
Art is in the eye of the beholder. Craft is not. The reason not to fear 10,000 monkeys smashing on word processors is that while they may occasionally create art, they will never write a magazine article.
Herb Sevush
Zebra Productions -
‘ITS TALENT, PERIOD’
Uh…no it’s not. Talent without proper tools is nothing. I might be a great sculptor…but without a hammer and chisel…I cannot sculpt. I might be a brilliant house builder…but without a hammer and nails I cannot build.
[Lemur Hayop] “Firstly, it’s not the tools that make the product…it’s the people. “
Yes, the person is VERY important. But unless they have the proper tool to deliver what they are required to deliver…they can’t do their job. You give a sculptor a slab of stone…a chisel…but no hammer. He’s not going to be able to accomplish much. Same with the carpenter. Give them a hammer, but no nails…nothing will be built, no matter how talented they are.
Give us FCX…but no OMF…we cannot deliver what we are required to deliver. Yes, we can make the project look great…it will tell the story and will look nice on a DVD. But without OMF, I cannot get the audio to my mixer to do a sound mix. Without an EDL (yes, we still use this OLD tool…because it works!) I cannot get a cut list to my VFX house, or to the online facility that uses higher end color grading tools (Not everyone uses RESOLVE). ROLES is a small fix to export audio in a certain configuration, but it STILL doesn’t do what I need to do. Export Stereo Mix…AND separate SFX, DIA, SOT, MUS tracks…oh, and Mix Minus Music. I can currently do this with FCP 7. Without proper XML, I cannot get the footage to the colorist (again, not everyone uses RESOLVE).
Oh, I can apply a look…a preset…and futz with useless controls. But then where’s the art? Give a sculptor a hammer, and then a cookie cutter chisel that makes a pre-built hand…where’s the art? Give the carpenter all the tools he needs, but then blueprints for the same house over and over and over again, and you get tract housing like you see in Burbank…the same houses next to each other, only different colors.
By taking away the fine control ARTISTS need to make the art…and giving everyone presets…then people will make very similar art. Give the artist an incomplete toolset and they cannot make the art that they need to make.
And yes, we can still edit and tell stories with FCX. But we cannot deliver the final master with the required specifications with FCX. It lacks the tools we need to deliver our great art to the museum…
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
[Shane Ross] “And yes, we can still edit and tell stories with FCX. But we cannot deliver the final master with the required specifications with FCX. It lacks the tools we need to deliver our great art to the museum…”
Foolcut will get you out to all of the initialisms with some rigamarole:
Intelligent Assistance is working on FCPX to FCP7 translation that will allow you to go straight to the interchange formats from 7.
Yes, FCPX can’t do it natively, but the capability is there. It will only improve with time.
I know, some people don’t have the time.
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A bit of a problem here is that mighty Apple has raised itself as an art piece.
As in the “medium is the message” concept, people are just happy
with a bunch of colored unicorns playing right on their laps.
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Oh, and let’s change the tool so that artists will have to re-learn just about everything about their craft on the technical end. Let the engineers say “this tool is better than the other tool you had,” without getting proper feedback from the people who actually use the tool. Because THEY see it as the future of how things will be done. The craftsmen/artists DID NOT ASK for the tool to be changed from the ground up. They just wanted improvements.
Avid started with editors telling engineers what they wanted and needed. Other editors balked at moving to the NLE, but it was designed with LOADS of input from professional…
…oh…wait. Perhaps Apple did listen. Just not to professionals. But to the market they cater too. The ones the doc is about…those who want to be artists…want to make that great art, but not want to take the time to actually learn the process. Who want the quick tools to make things look great.
Got it…
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def
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