Am I old fashion?

[Andy Neil]

[Sascha Engel] “I just edited a film, that was shot on Canon C300 and in Mac OS 10.8.4 there is no more working plug in for the L&T Tool to ingest. So I had to ingest on my MBP which is still running on 10.6.8.”

If you have X, then why didn’t you just injest the footage in X and copy the resulting QTs to a folder to work in 7 if that’s what you wanted to do? Probably would have made for an easier workaround.

Andy

https://www.timesavertutorials.com

[Charlie Austin]

[Herb Sevush] “I had no intent, I was just making a non judgmental observation about your comments.”

Of course, and I wasn’t implying intent. Hopefully that came across. 🙂

[Herb Sevush] “I think Hollywood editors are very conservative for a number of reasons –

1) operational speed is not essential, they get paid for thinking and organizational skills, not typing or mousing speed.
2) they have assistants to sweat the technical stuff.”

Absolutely. But I there are also different breeds of Hollywood editors. For feature editors, you are correct. For people who cut TV, or Trailers/Promos etc, The opposite is often true. I know it is for me. Client on phone watching my cut in real time on a fiber connection with a deadline in 15 minutes to get something out to test over the weekend. Fast (and good) is essential. Sometimes a feature editor can cut a good trailer and visa versa, but it really is a different language, and timeframe. The point being, If you are really fast and competent on a particular NLE/DAW/GFX package etc, there’s not much reason to change unless it just stops working.

[Herb Sevush] “3) stability and reliability are paramount. If Michael Bay is coming for a screening your sh*t better be working.”

lol… that’s true of many things other than features. 🙂 Anytime there’s a client looking over your shoulder your sh*t better be working.

[Herb Sevush] “4) Citizen Kane and Chinatown were cut on upright moviolas; obviously talent trumps technology.”

Yep… I really believe – and this has nothing specifically to do with the NLE choice topic – the quote in my sig below to be true. I saw something pretty impressive on the intertubes a while ago that had been shot, and cut, on an iPhone.

[Herb Sevush] “Another adage was – “if the shot sucks, put it in a cube and spin it.””

For us it’s the explosion or other loud sound hiding the crappy music edit. It’s an adage that’s still in effect. 😉

————————————————————-

~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Herb Sevush]

[Charlie Austin] “Absolutely. But I there are also different breeds of Hollywood editors. For feature editors, you are correct.”

Excuse my provincialism – when I said Hollywood editors I meant feature film editors, whether working in LA, NY, London or anywhere else.

[Charlie Austin] “For us it’s the explosion or other loud sound hiding the crappy music edit. It’s an adage that’s still in effect. ;-)”

In my old film editing days, when we were at the client approval stage, we used to stratergize as to who was supposed to cough when a particularly bad audio edit was coming up. For something really bad we might consider knocking over an ashtray.

Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Sascha Engel]

That was before I knew how to use it. Now I did a month of intensive training and I’m secure with it. Now, also all the good and bad of X is more obvious to me.

Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang

[David Roth weiss]

[Herb Sevush] “In my old film editing days, when we were at the client approval stage, we used to stratergize as to who was supposed to cough when a particularly bad audio edit was coming up. For something really bad we might consider knocking over an ashtray.”

Of course Herb, I never made a bad edit in my life… 🙂

However, my secret trick was to put something completely abysmal near the tail of the approval copy so that it became the ONLY topic of conversation. Then, I could always make the excuse that we simply didn’t have time to make that one last fix.

David Roth Weiss
ProMax Systems
Burbank
DRW@ProMax.com

Sales | Integration | Support

David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.

[Richard Herd]

Same amount of time? No. 7 times faster.

I already posted about it, ages ago. In a nutshell, when I taught hs, I taugh PP and X. The students were up and running in X, 2 weeks quicker — a two week lesson in PP was 1 day in X.

This is also evidence of what Bill has said over and over and over ad nauseum until even the choir are rolling our eyes: trained editors have to disintoxicate their minds.

[Baz Leffler]

Thanks Herb – a quick question needs a quick answer!

Incidently, apart from running and owning a post house here in Sydney I have also branched out into multicam field work using ATEM production switchers.

Part of the requirement is to provide field recording, editing and turnarounds back into the main ‘live’ program.

For this I use a MBPr with FCPX and a Blackmagic Ultrastudio Thunderbolt I/O and a thunderbolt hard drive. When the ‘fast turnaround’ edit is complete it is played out ‘live’ direct from the FCPX timeline. If we have the time we export it to a SSD and play it out on a Hyperdeck studio to free up the editing system to keep editing.

So while I get accused of being ‘old fashion’ its all very hi-tech stuff that I designed myself! (I am not a youngser having worked in TV since the early ’70’s.)

I still have a field MBP running FCP 7 and a MXO2 but it gets mainly used now as a media player into the live programs.

[Nikolas Bäurle]

Is has been my experience as well. The Editors I trained for one of the places i was freelancing at got the hang of it within a day or two, one was even arrogant enough not to look at the software beforehand, but was able to work with it the next day.

Even though I understand that for many its hard to learn completely new workflows due to lack of time, or fear of loosing clients, I know several FCPX haters who have plenty of time to learn new software, they just don’t want to. And one that had to, who at first was completely against it, suddenly likes working with X.

There’s still a lot of anger about the change Apple made and there’s still a lot of completely wrong information out there. I had an interesting conversation with a producer about X the other day, he had been using X once in a while learning with ripple training and larry jordan, but was worried that apple was leaving the pro market….this was what several editors had told him… the less someone has dealt with the X the bigger the opinion.

“Always look on the bright side of life” – Monty Python

[Tony West]

[Herb Sevush] “Are most editors simply befuddled curmudgeons, as Bill Davis has often implied, terrified of change and holding onto the past? If so what characteristics of editors make them behave so differently from DP’s, who seem to embrace change with every new sensor release?”

I would say one difference for me is that with a new camera you can really see a dramatic difference.

Like going from a half inch sensor camera to an f3 35 with nice prime glass. Unlike a camera, when you see something cut together most times you have no idea what it was cut on unless they tell you. So if you are cutting on some older NLE and you are good on it and comfortable, I don’t think it’s as big a deal to keep cutting on the old program.

VS you could lose a job if you don’t show up with the latest camera the client wants the look of.

[Christopher Travis]

As an aside…

The needs for speed isn’t only about the times you have a client over your shoulder, it’s also about the ability to implement ideas as quickly as you can have them.

Yes, a lot of editing is about planning and knowing something will work before you do it. However when it comes to fine tuning and adjusting, fluency is required if one is not to loose patience and settle for something ok.