Anybody HAPPY?

[Jeremy Garchow]

[Lillian Young] “I can’t lie and say it’s not a little off-putting that amateurs and non editors use the same software as pros now by using X, BUT the entire industry is changing across all multimedia disciplines. “

But you see, this is a reason that FCP Legend became so popular in the first place over the last decade. The industry has already changed a lot.

DPs, Directors, Producers, all non craft editors could not only afford FCS, but they were able to use it.

I am not talking about doing a complete edit and finish but many people from all facets of the production they were able to use it on a cursory enough level to either assemble rough cuts, prepare and do a first pass organization of footage to hand off to an editor, edit their demo reels, capture footage on set or in a studio, whatever.

So, it was a very general purpose tool that also was expandable to higher end work via XML, which in a way, is kind of Apple’s ethos.

Jeremy

[Tim Wilson]

[Jeremy Garchow] “[Lillian Young] “I can’t lie and say it’s not a little off-putting that amateurs and non editors use the same software as pros now by using X, BUT the entire industry is changing across all multimedia disciplines. ”

But you see, this is a reason that FCP Legend became so popular in the first place over the last decade. The industry has already changed a lot.”

Going back a little further, Jeremy, I know you were around to remember people saying that broadcast-quality output from a Media 100 for “only” “as little as” $7500 for the bare card, and the complete NLE, CG (remember when titling was a separate, expensive module, if not a separate product?) and almost-real-time effects for “only” $50,000 in today’s dollars was going to bring the industry crashing to the ground.

Even the words “broadcast quality” were the LAST words that any broadcaster wanted to hear. To them, it sounded like the hoofbeats of the horsemen of the Apocalypse…which is of course exactly what they were. 🙂

More than NLEs though, I think it was the Sony UVW-1800 BetaSP deck, which allowed “anyone” to create a final deliverable for a TV station, for the “low, low” price of $15,000 in today’s dollars. It changed EVERYTHING, because “everyone” could afford one….despite people with broadcast decks that cost ten times as much saying that this cheap crap like this had no place in professional production.

Heck, in Sony’s own parlance, the “U” in UVW stood for “Universal.” I don’t think even THEY anticipated how easily it replaced their own BVW (“B” for “Broadcast”) gear in so many parts of the world.

And After Effects? Fuggedaboutit. No such thing as professional motion graphics for $3500. (Again, in today’s dollars.) INSANITY. Can’t be done. Nobody with any self-respect would try to pawn themselves off as professionals with nonsense like this. After Effects is a toy, a joke.

Or not. LOL

And no kidding, this really did change everything. A massive part of the industry was built on individuals outputting After Effects via Media 100 to a UVW-1800 deck, and another built on UVW BetaSP gear and the Media 100 NLE. It wasn’t until then that the final piece of the inevitability was in place: “anyone” could afford “everything” they needed for crystal-clear, laser-sharp output with, in some cases, capabilities that simply didn’t exist in the more expensive “professionals only” products.

Obviously not entirely true, but close enough to true that the door hadn’t just been opened. The walls had fallen.

So, the numbers change, but, except at the upper end of the upper end of the market, the apocalyptic hoofbeats keep coming.

[Jeremy Garchow]

Quite true, Tim.

[Herb Sevush]

[Tim Wilson] “More than NLEs though, I think it was the Sony UVW-1800 BetaSP deck, which allowed “anyone” to create a final deliverable for a TV station, for the “low, low” price of $15,000 in today’s dollars. It changed EVERYTHING, because “everyone” could afford one”

It was the game changer for me, the first time I could deliver finished shows for broadcast without having to go to a facility. I still have mine sitting in my edit bay, all patched in but never used anymore. Love the little bugger.

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