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Commercial advantages
I was going to put this at the bottom of a thread called “Tedious track based editing”, but I though maybe it deserved its own. I was quoting –
[Aindreas Gallagher] “hey craig, are you still going ahead with that london based post facility based around FCPX you mentioned a while back?”
Yes, scouting for a location at the moment. Opening around Christmas or March. Would really like to know what apple are going to do with the Mac Pro.
I’ve only ever been a client at facilities houses – lots of them and for lots of years. As a client, I was never interested in what actual equipment they used, only in whether it could do the job I needed to do. By far the most important thing in the place was the editor him or her self – knowledgable, sympathetic, speedy – and with style. The toys came a long way behind all that.
I wonder what commercial advantages FCPX will bring to a facilities house, and what disadvantages….?
Bernie
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53 Replies
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yes. I have, on the very odd occasion, been the editor in the big suite with the plasma screen – the one thing you are overwhelmingly aware of is the need to make a good connection with the client – once they trust you, feel like you are properly taking in their concerns, and the earlier the better – once you get to that point you could be banging two salamis together to make the edit for all they care.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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It was the same with Final Cut Pro The Elder.
Back when more people would actually sit with us in the suite for days/weeks agency types, about a few hours in to the day, would suddenly notice I wasn’t cutting on Avid when they finally looked at my computer screen. “You’re doing THIS in Final Cut Pro???”. I of course promptly returned, umm, yes.
If the editor can get the job done, and the program can survive a day of client editing, as a great man once said, at that point you could be banging two salamis together to make the edit for all they care.
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Prosciutto is what pros have cut for years. Anyone cutting salami will be laughed out of the deli.
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For clients weary of FCP X, just start rolling through font choices while the font changes just as fast on the client monitor. I love that. And you can actually type the text right on the image. Crazy stuff. Who would’ve thought an editor would ever want to do that?
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Also don’t overlook the lure of being able to work and comp with little equipment remotely.
My son just came in and turned me on to the latest Lindsey Stirling – VenTribe video.
Shot on DSLR (visible in one of the African classroom shots) – this shows the value of being able to travel light and still make sure you’ve got what you need to make the project you want – without dragging a flypack all over the planet.
Nice piece of work, this.
BTW, Ms Stirling (an ‘also ran” on American Idol) is becoming a major Viral star largely via YouTube strategies according to her Forbes profile “The Dancing Violinist – How Lindsey Stirling Is Conquering YouTube One Video At A Time”
This thread is about “commercial advantages.” I think mobility (whatever software you use to achieve it) is an increasingly big one.
I can’t help thinking what it would have taken to produce this level of “on-location” video just a few short years ago.
https://www.youtube.com/watch?v=0g9poWKKpbU
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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“Shot on DSLR (visible in one of the African classroom shots) – this shows the value of being able to travel light and still make sure you’ve got what you need to make the project you want – without dragging a flypack all over the planet.”
Though I’m happy to be corrected, I have a feeling this wasn’t such a lightweight operation. Shot on DSLR it might have been, but if you saw one, we’re on a camera crew of 4 or 5. Then there’s sound, makeup, lighting (reflectors?), transport, production…..
A pity that the mimed voice sounds like it was in the studio (of course) and she’s in the bush with no effects. Bad sound on the PTC at the end.
B
Bernie
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[Aindreas Gallagher] ” once they trust you, feel like you are properly taking in their concerns, and the earlier the better – once you get to that point you could be banging two salamis together to make the edit for all they care.”
hahaha this is genius A
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We’ve been able to shoot and edit broadcast video on laptops and small cameras for 12 or 13 years. Not sure how FCP X is any amazing leap forward in this realm.
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[Bret Williams] “We’ve been able to shoot and edit broadcast video on laptops and small cameras for 12 or 13 years. Not sure how FCP X is any amazing leap forward in this realm.”
Bingo.
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David Lawrence
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[Bret Williams] “We’ve been able to shoot and edit broadcast video on laptops and small cameras for 12 or 13 years. Not sure how FCP X is any amazing leap forward in this realm.”
Huh?
I said nothing about FCP-X.
In fact I said: This thread is about “commercial advantages.” I think mobility (whatever software you use to achieve it) is an increasingly big one.
Me thinks you might be starting to project a preconception on what I’m writing?
That guy with a small stabilizer and a DSLR was the point, I have no clue what software it was edited on. Plus I presume that they did with the vast majority of music videos do – pre-produce the audio track and simply mime to it on location.
To my eye, there was little lighting beyond the adept use of natural light and some bounce fill.
That’s where a DSLR that can use a f2 lens and generates a darn clean signal at ISO 2500 enables a new agile and compact approach to high quality remote work.
Nothing more than that.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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