-
About – “Seasoned Film Editor Takes Adobe Premiere Pro CC For a Spin”
-
I agree that watching footage is real time. FCPX does not help here.
I cut spots (among other things) and I find that FCPX’s Auditions are awesome. Sure, it takes some time to set up, but it’s time well spent. If you have multiple takes of multiple shots, Auditions, as well as multicam (or even synchronized clips) makes the edit move much faster as all of your takes are stored in the timeline. When the director/agency comes back to explore, that’s when Auditions will save you time.
Music Auditioning is particularly fast (and useful). There’s no going to find anything, or track down more songs, and lay them in the right track, with no collisions, and making sure everything else is turned off. No, you simply hit the next Audition and start listening. You can even cycle the music while the spot is playing. Any timing or adjustments made are saved on the clip, so if you decide to go back to it, you don’t have to redo all the work.
If it doesn’t save you time, it allows you to make more decisions, or try more things (that is, it allows more creative decisions). I know that topic is a hot point, that an NLE can actually help your creative decisions, but I find that FCPX does help me stay in the creative zone rather than fighting an interface.
I also like that FCPX has a constant timeline and selection duration timers at the bottom of the timeline. When cutting for 20, 30 , or 60, this saves a lot of time for me. I know that seems simple and trivial, but it’s true.
Can anyone link to the original article? I seemed to have missed it.
Jeremy
-
Sorry – it’s the first thing I keep seeing when I arrive at the Cow, but the direct link is – https://library.creativecow.net/adobe/Nicolas-de-Toth_Premiere-Pro/1
Old memories stir of racing in and out of Soho post houses, where the rates made our BBC eyes water, whilst the 30″ commercial being cut next door was in its fifth day. I suppose there’s a good bit of psychology in how long it takes and how much you can charge the client.
Bernie
-
[Bernard Newnham] “I suppose there’s a good bit of psychology in how long it takes and how much you can charge the client.
“You can also flip 30 seconds around many many times. As Jok said, there can be 100s of versions.
On a longer piece, you just don’t get that many versions.
Thanks for the link!
-
Thinking a bit more about the commercial rather than the editing, and having seen the piece several times now, I remember –
A red sports car
Mario Andretti (somewhat retired)
A cliche police interceptionWhat was the product they were advertising?
Haven’t the faintest.
It was ever thus.
Bernie
-
[Jeremy Garchow] “You can also flip 30 seconds around many many times. As Jok said, there can be 100s of versions.”
Are we gonna end this thread without mentioning the obvious – that agency’s make a commission on the cost of the spot and therefore have very little incentive to keep costs down? I haven’t worked on spots in over 20 years but unless things have changed radically this was an open joke known to everyone but the clients. I could, and often did hire the same crew at literally 1/4 of the cost for a corporate job as an agency spot. Keeping costs down on production and post seemed trivial when considering the cost of airing the spots and to create “the perfect spot” no cost was too high. Under those conditions absurdly long schedules were the norm.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “I haven’t worked on spots in over 20 years but unless things have changed radically this was an open joke known to everyone but the clients.”
You really don’t think that clients would have sussed it over the course of those 20 years? In fact, wouldn’t this “open joke” represent a fantastic business opportunity for anyone willing to clue them in? So where are all the upstart companies producing top commercial work at corporate rates?
Just like in any other market, you get what you pay for. Simple as that.
-
[Jok Daniel] “You really don’t think that clients would have sussed it over the course of those 20 years?”
Well they hadn’t sussed it out for the previous 20 years, so I don’t know what has changed. When clients were spending millions on air time it was easy to convince them that they had to spend 200K on a spot even though it could be done properly for half that cost.
[Jok Daniel] “In fact, wouldn’t this “open joke” represent a fantastic business opportunity for anyone willing to clue them in?”
Not for large corporate spots, no. It was not just the agencies that profited from the high costs, the product managers were treated like royalty and had no incentives to keep costs down. Their mandate was to sell products, not to watch the budget.
[Jok Daniel] “So where are all the upstart companies producing top commercial work at corporate rates?”
Doing test spots and starving, back in my day.
[Jok Daniel] “Just like in any other market, you get what you pay for. Simple as that.”
True that. In this case, as in sales of luxury items, what you got for the money was the impression of quality, and how good could something be if it didn’t cost a bundle?
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “[Jok Daniel] “Just like in any other market, you get what you pay for. Simple as that.”
True that. In this case, as in sales of luxury items, what you got for the money was the impression of quality, and how good could something be if it didn’t cost a bundle?”
That is absolutely true. I have had days (in the past) where the company I worked for charged a client $100.00 an hour for me to prep graphics for an Avid edit (3 minute interview)… and then later that day, charged a different client $35.00 an hour for me to edit, create graphics for and encode a three minute talking head video. Guess which was for an agency, and which was a corporate piece. 🙂
Shawn
-
So – I thought I’d got the idea, but I didn’t want to be blatant about it.
But – without looking back, can anyone name the product? How easy was it to remember? What about the piece did you remember first?
The most qualified focus group around makes its conclusions…….
Bernie
-
I only watched it once a few days ago when this thread came up.
At first, I had no idea what was being advertised. It’s OK, it’s a story, and events unfold in real time and you can’t know the story before it’s told. I thought it was a car dealership commercial at first blush. I remember the turning point being the cop saying “I know speeding when I hear it” or something like that, and there’s the lightbulb moment.
Then there was a product name like magna flow or some sort of mag flow. I don’t remember the name. It might have even been spelled ‘flo’.
At that point, I had to deduce that it was for either performance exhaust or some sort of aftermarket engine component. Since one of the last shots is of tailpipes, I would bet on some sort of performance exhaust.
Reply to this Discussion! Login or Sign Up