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FCPX cutting a hundred million dollar feature right this minute.
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FYI–the studio is probably Warner Bros. and the movie is probably Focus. I don’t have any inside knowledge, but that’s what the clues point to.
https://en.wikipedia.org/wiki/Focus_(2014_film)
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[Jeremy Garchow] “I respect your opinions, but come on, really? This isn’t the craft of editing and video production, it’s to help his wife create better YouTube videos. This has nothing to do with FCPX, he started on Camtasia and Windows:”
It has everything to do with FCPX and Apple as a whole. Everyone is lumped in to the same pot. FCPX can help this guy make his wife’s YouTube videos better… and it can cut a 100 million dollar Hollywood feature. That’s quite a range… but most things will fall within the mean.
Brian Mulligan
Senior Editor – Autodesk Smoke
WTHR-TV Indianapolis,IN, USA
Twitter: @bkmeditor -
[Chris Harlan] “FYI–the studio is probably Warner Bros. and the movie is probably Focus. I don’t have any inside knowledge, but that’s what the clues point to.
https://en.wikipedia.org/wiki/Focus_(2014_film)“
Well done Mr Holmes
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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Clerks?
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[Charlie Austin] “That wasn’t the case without a ton of financial backing in the not too distant past…”
But more often than not, you still need financial backing. The high cost of entry to narrative filmmaking isn’t necessarily the gear…it’s paying the people to help subsist the areas of talent that you lack.
Not everyone can fill every position adequately, and without paying people you run a high risk of losing crew to the point where your project is never finished.
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Blair Witch Project?
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[Brian Mulligan] “FCPX can help this guy make his wife’s YouTube videos better… and it can cut a 100 million dollar Hollywood feature.”
Exactly Brian.
This is what I believed made X a brilliant move by Apple.
When I saw it, I said “somebody cracked the code”
Before, it was user friendly but not very powerful or very powerful and not as user friendly.
Not the case with this product. Add on the affordable cost from a company with money to burn and you got a game changer on your hands.
I never believed Apple didn’t want back into Hollywood because very few don’t want into Hollywood.
Why should they be any different.They want to stand there at some Oscar party and brag, “yeah, we were part of that”
they just took an out of the box approach to try to get there.I’m with Jeremy, good luck to that guy helping his wife. Not gonna stop films like
12 Years A Slave from being made.I don’t think the two will ever meet……………..at least, not on Oscar night.
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mmm. lets not go overboard, I still think as a piece of software its a rank little hobgoblin that I wish had died in the cot, but well, its here to stay now apparently.
Mostly I made such a song and dance about the hundred million dollar movie thing I felt a serious urge to put my hand up.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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Good one.
Pi?
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I have to take exception with the “movie in your living room for under $50K” (cost of a DB) idea. It simply is more a wish than a reality. All of the films I’ve worked on as an editor, online editor and colorist all fit into the low budget indie category. Over the years, the cost of producing these has come down, but it’s not because it has become cheaper to make them. It’s because it’s harder to find adequate financing.
What used to be produced for $500K-$1M in the 90s have become projects that today are in the $150K to $200K range. In both cases, none of these budgets would even have been possible without considerable incentives, in-kind services, deferrals, freebees, favors and outright begging. When you do a real budget for a standard, dialogue-driven indie (figure a 20-30 day shoot), non-union everything, you will be hard-pressed to come in under $800K and that’s with a lot of industry-standard discounts (like 3-day week rentals). This includes prod, post, sets, cast, music, etc.
The true talent is on the part of the producer who can pull off a larger look for $150K total, but that same producer can never go back to the same folks and ask for the same deal on the next project. Movies almost never make money, so deferrals almost never get paid. It’s either a labor of love or you have to recognize that you’ve become a de facto investor in someone else’s project.
The usual examples that are held up are Rodriguez’s first film and “The Blair Witch Project”. Neither one of those efforts would have ever seen the light of day if the studios hadn’t paid for a significant amount of additional post after the project was picked up. The odds of that happening to the average small filmmaker are like winning the lottery and getting struck by lightning at the same time.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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