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Commercial advantages
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[Joseph Owens] “Sweet little tune, Hans Zimmer might find it somewhat familiar, “I’m from Kenya, I’ve got an itch in my bra” occurs to me…”
Fair, but you’ve got to bring that up with Rhianna –
I first heard this tune when a now ex-client was looking for a piece of “walk on” background music for a corporate show – (embroiling me in yet another un-winnable skirmish over using un-cleared pop music for a corporate event!) – then was surprised to hear it used as her signature piece in her big performance at the Grammys.
Now it shows up in my life again.
Like that PSY deal – no matter your personal tastes, you just can’t escape catchy pop music in the modern era – no matter how much you might want to!
“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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[Jeremy Garchow] “Yes, a much more capable deck”
(imitating a modern 17 year old video dude) “What’s a deck? Is it something like a memory card?”
(sigh)
“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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[Joseph Owens] ”
Okay, then… so looking at the piece with a colorist’s eye…. The way most of the costuming *pops* (especially the blue uniforms in the classroom and the red outfit the performer is wearing) suggests there was also a massive amount of grade/correction involved– and usually is when sourcing DSLR.”Exactly. Canon 5D footage does not look like that coming out of the camera. It looks more like the end piece with her talking to the camera (and they couldn’t be bothered to even get decent audio? Wow.)
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[Gary Huff] “Exactly. Canon 5D footage does not look like that coming out of the camera.”
I “so” do not get this attitude.
So RED footage looks great coming out of the camera? NOT.
I thought the entire direction of the industry was to capture better footage in terms of resolution (and latitude and grading potential when possible) – and then post grade to taste.
At the high end, that’s the RED workflow.
At the low end, it’s the DSLR workflow.What’s the difference? It’s modern production as it’s practiced by everyone.
You can snipe at DSLR’s H264 compression or that they “dumbed down” the sensor for video all you like, but the marketplace has voted overwhelmingly in favor of the imagery produced by DSLRs, And like it or not, the device has arguably elevated the quality results obtainable by those with modest budgets more than any other video device of this generation.
The RED ONE entry point remains upwards of $20,000+ and yields outstanding results at that price point.
The DSLR entry point for the 5D is around $3,000+ and yields remarkable image results at it’s price point.I’m all for pushing for quality – but every “flaw” people are pointing out in these pieces has nothing to do with the equipment. It’s essentially “They should have done that part better.” Which is to my thinking a very slippery slope, since I can’t think of a single one of my own hundreds of delivered projects that, on looking back, I don’t say exactly the same thing about.
Maybe you guys work on “perfect” projects. (or at least ones with the budget to go re-shoot if you discover a flaw – but in my world that just doesn’t happen. You go out, work like a dog to do your best – and if there are flaws, you work to correct them in post. And sometimes you have to live with them because the shot is more important than it’s imperfections.
The cold hearted reality check is that they didn’t hire you or me to go to Africa – they hired the guy who shot this piece. And sorry, but he delivered a great product. Not flawless, but undeniably effective.
And frankly, in the context of this piece, those flaws border on meaningless in the sense that after seeing this, my 19 year old son immediately went on line looking to see if Ms. Sterling was coming to town. She is – and he’s motivated to put his money down to see her perform.
Mission accomplished.
The video is driving tangible positive financial results for it’s producers.
Would they have sold a single additional ticket if they’d shot this on a RED or with a larger crew?
I seriously doubt it.
Which to my thinking is kinda “game over” right there.
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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Try editing 1080p on a laptop from 2000.
And try editing and finishing in Fcp7 or any 32-bit NLE on a laptop.
It worked, but it was a hassle.
The new NLEs are just flying. even on portable machines. -
[Bill Davis] “The cold hearted reality check is that they didn’t hire you or me to go to Africa – they hired the guy who shot this piece. And sorry, but he delivered a great product. Not flawless, but undeniably effective.”
That is not a reality check. The simple truth of the matter is that if whoever made that hiring decision knew of me and my work instead of this person, I would have been the one to go.
Simple as that.
There’s nothing special about this video at all. Nothing I couldn’t have handled either. The only reason is because I wasn’t even in contention, and that has nothing to do with 5Ds or FCPX or Retina displays or any of that gadgety-goodness b.s. That’s networking, plain and simple.
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[Gary Huff] “That is not a reality check. The simple truth of the matter is that if whoever made that hiring decision knew of me and my work instead of this person, I would have been the one to go.
Simple as that.”
Perhaps they didn’t hire either you OR me because they valued “lack of arrogance” over technical skill?
Worth thinking about, no?
“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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[Bill Davis] “Perhaps they didn’t hire either you OR me because they valued “lack of arrogance” over technical skill? Worth thinking about, no?”
Why would I waste my time thinking about a total hypothetical? It’d be nice if you actually added something of value to the conversation for once.
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So – lots of replies, but no actual conclusions.
From my POV, with lots of years as a producer client, and a few years of being producer/editor/cameraman etc, if I were starting a small facility, I’d forget the hardware for a while and find the best editors for the price. Then I’d ask them about the hardware, and take a consensus. But – if I had to do it myself in 2012, I’d go for Adobe on PCs. PCs because there’s always an upgrade, and Adobe because it has currently the best integration with almost everything.
Bernie
Bernie
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[Bernard Newnham] “PCs because there’s always an upgrade, and Adobe because it has currently the best integration with almost everything.”
Worth considering.
But while I agree that Adobe has excellent integration within the users workflow – I’d be interested on how you see their integration outside of the “in-suite” content creation setting.
That is precisely what’s been most interesting to me about the FCP-X approach. It appears to be a step toward an always connected workflow – rather than the classic style of content creation and perfection residing inside the suite – but that “masters” are something that you disconnect from the creation process.
What tools does it have for built in publishing and connectivity?
Honestly asking – I’m not familiar with the Adobe line nearly as much as I am with the X approach – which leaves it’s “masters” dynamically connected to not only the editing suite – but to the Publish area as well.
Is Premier still following the – make it over here – then export it as a disconnected file over there – then if you need another one, repeat process – or are they migrating towards dynamic files that remain persistently connected to the editorial suite and just publish the current state as needed – the process that I see X as being built around?
I’d truly enjoy hearing your thoughts on 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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