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Brave new world. Again.
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Tony –
You’re lucky your clients are in the same town – I live in rural New Hampshire, and my clients are all over the country (and world). I either have to use my Dropbox account, or if the delivery and deadline are tight, I send stuff out on a portable hard drive overnight! I had to do a project for an organization in the Central African Republic a couple of years ago, and I found out the city (Bangui) I was sending it to didn’t have anything faster than a dial-up modem, plus the power would go out regularly on any given day. Yikes! I ended up sending the final project on a Lacie Rugged drive via Fedex, and it took over a week to get there. I was sweating…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Wow, I would have been sweating on that one also.
I look forward to watching their progress. I may have to send to NY in a couple of months.
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You wouldn’t believe the hoops the project had to go through – I had to send it in both NTSC and PAL. I was doing animated segments for the project. The producer spoke French, the editor spoke Sango (the local language of the CAR), and the whole project had to be translated to Sango for the final viewing audience. Looking back on it, it was pretty cool. At the time, not so cool…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
The future? Hardly. The first time I saw FCP being used was a DV edit on a laptop in a coffee shop. It was FCP2 from memory and it was last century.
The ability to edit on portable gear has only improved since then but I really can’t take all this Brave New World stuff seriously. In the future we will continue to do what he have done in the past. All that changes is power and price based on Moore’s Law.
Where it is desirable to work has not changed for me. For the past ten years I have worked from home in nice rooms designed for minimum distraction and maximum comfort. Headphones in a coffee shop is something to avoid where possible and all that is being reported here is that the gear is as cheap and powerful as we should expect.
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this is getting blown way out of proportion
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[Jeremy Garchow] “this is getting blown way out of proportion
“Ya think? 😀
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~”It is a poor craftsman who blames his tools.”~
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People that advocates for editing on a laptop probably haven’t edited long enough on laptop to understand and suffer the miseries of editing on a laptop.
The kind of “edit-on-a-coffe-shop” that Bob explains on the opening post, is something that you can do now and them. But if you try to do that on a daily base, after a few months you will be visiting your ophthalmologist.
As Andrew says, is not the same “what you can do” and “what you should do”.
rafael -
[Rafael Amador] “The kind of “edit-on-a-coffe-shop” that Bob explains on the opening post, is something that you can do now and them. But if you try to do that on a daily base, after a few months you will be visiting your ophthalmologist.”
Here is a pic of an early beta of, what I think, is the brave new future of editing. Avid’s new touch based iOS version of MC. This is gonna be great! I hope I’m not breaking my NDA by posting this…
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~”It is a poor craftsman who blames his tools.”~
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[Charlie Austin] “But TV? Seriously? You’re telling me I can’t mix audio on a laptop with headphones for a broadcast TV signal that’s ultimately likely to hit a transmitters “brick wall” limiting? Really?
I do a fair bit of work that ends up on major market radio and network affiliate TV. And so far not a SINGLE person anywhere along my distribution chain has EVER said that my mixes don’t do just fine. ”
I’m not saying it can’t be done, of course it can. I’m simply saying that a mix done on headphones will sound totally different on a TV (or whatever). It might be fine, or it might suck… you just can’t tell. “
Charlie’s right. You can do a simple mix with headphones, but past that, you can’t rely on it. You run into all kinds of problems with distorted frequency response that tend toward overly colored, overly warm mid tones, misrepresented low tones and dead spots in stereo imaging. I use headphones all the time–I have a nice pair of Beyerdynamic 880s–because they let you pick up on all kinds of detail and garbage that I might not otherwise easily notice, and they make a valuable component to a mix, but unless you balance them out with a good pair near-fields you are asking for trouble. I also throw in mid-rangey consumer speakers, like those on a on a Macbook Pro, to get a taste of what I’m hearing as most others will hear it.
Certainly, if you are aware of the problems, you can make mental adjustments and educated guesses. I do that all the time, as well. And, monitoring meters also helps. There are also a couple of nifty plugins like Redline’s 112DB, that help with imaging and some of the dynamic range. Overall, though, once you’ve passed a certain complexity of mix, it is a bad habit to get into.
Over the last three or four years, I think every mix I’ve rejected was rejected because the preditor that turned it in to me had mixed on headphones, and the problems are so specific that I can easily identify them as being from a headphone mix. The three biggest problems are: 1) too little volume of a bass or mid-range track that carries the rhythm of a piece because the color of that frequency is so much brighter over head phones than on speaker playback, 2) jarring sub-bass artifacts that aren’t audible at their actual frequency over headphones, and 3) VO that is mixed at too low a volume because the bass of the voice talent seems higher and louder to the headphone wearer.
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i am sitting here right now, at home, on a very small desk with headphones on, editing three spots that end up on the TV in the States and Europe.
Am I going to finish it here? No.
But I am editing, and it’s an older laptop.
I am having no issues creatively.
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