-
FCPX or R15?
-
[Scott Witthaus] “Sometimes I get the feeling that people in our business try to make things as complex and hard as they can for no apparent gain or reason…mho”
That’s a great point, Scott.
And a corollary maybe is that once a practitioner settles on a workflow that satisfies them – there’s a powerful pull to depend on that workflow for everything they do.
It’s “I’m an AVID editor – so I see production in AVID terms.” Or, “I’m an FCP X editor – so I see problems in terms that X best solves them.” That’s all perfectly natural.
Hopping around between production processes puts extra stress on the practitioner, whether that’s learning the keystroke muscle memory for two or more NLEs – or becoming as comfortable shooting a six ounce iPhone X for someone conditioned to wielding a 15 lb shoulder mount broadcast camera.
It’s extra skills development, either way. And you have to be able to see the benefits in order to want to spend the time learning how to do any of it well.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Tony West] “I just want to be at my best level of quality all the time on jobs. I’ve shot cool stuff with my phone also, but I know I can do better with my primes and I want to offer my best to the client.”
and this is what will give you an advantage over other people. I recognise the utility of using in iPhone in certain circumstances, but in a lot of those circumstances it’s just as easy to use a small DSLR instead and get better quality results with more flexibility.
There is no scenario where I would travel to a job with just an iPhone
-
[greg janza] “I think that’s a great idea and I have the same reaction to some of the posts here.
“I don’t know, I like reading from all different scopes of post and in this thread, lots of pre pro. Im in such a narrow lane of post that I learn a lot from you guys and your specific disciplines…even sometimes Robin. I feel like have it relatively easy compared to you guys except maybe my hours and deadlines and if there were a trailer/promo section I feel like Id be the only one it, lol .
-
In other news, Super 8mm is still out there…
https://www.kodak.com/us/en/consumer/products/super8/super8-camera/default.htm
-
Something I find interesting is how ‘good enough’ gets tossed around as negative term yet everyone lands on good enough eventually because projects have finite budgets and deadlines. If one has a client that needs a corporate training video created is one going to pitch them on getting Christopher Nolan to direct it, Rodger Deakons to shoot it in 70mm IMAX, Walter Murch to cut, and Morgan Freeman to narrate it because anything less would be settling for ‘good enough’? ????
Everything from sync-sound 35mm film to desktop publishing to the DV revolution is a product of ‘good enough’ yet all of those are seen as watershed moments in our industry, not poo-pooed for not offering the best solutions money could buy.
Different projects have different needs so while shooting on an iPhone or GoPro might work in one situation it might not work in another. Sure Soderbergh shot “Unsane” on an iPhone. He also shot “Full Frontal” on MiniDV. He does it to experiment with different looks, different tech, and different ways of working, not because he’s thinks they are replacements for 35mm film or an Arri Alexa. It’s an artistic, stylistic choice that’s not rooted in objective quality.
[Neil Goodman] “I don’t know, I like reading from all different scopes of post and in this thread, lots of pre pro. Im in such a narrow lane of post that I learn a lot from you guys and your specific disciplines…”
I agree. I like being exposed to the variety of workflows, projects, and editorial choices that are here. If someone is looking for advice about a specific niche/workflow they can just start a thread on it.
-
[Andrew Kimery] “Something I find interesting is how ‘good enough’ gets tossed around as negative term yet everyone lands on good enough eventually because projects have finite budgets and deadlines.”
Good enough is for when you don’t have any other options – due to money, size, availability. If you can afford better options, then “good enough” ain’t good enough.
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Herb Sevush] “If you can afford better options, then “good enough” ain’t good enough.”
Maybe it should be said “as good as can be done based on client, budget and deadline”.
Scott Witthaus
Senior Editor/Visual Storyteller
https://vimeo.com/channels/1322525
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter -
[Herb Sevush] “Good enough is for when you don’t have any other options – due to money, size, availability. If you can afford better options, then “good enough” ain’t good enough.”
But the most common scarcity in this is the one you conveniently left out… time.
Good enough hedges THAT better than anything else.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Herb Sevush] “Good enough is for when you don’t have any other options – due to money, size, availability. If you can afford better options, then “good enough” ain’t good enough.”
Exactly. Because budgets are finite, schedules don’t always mesh, and deadlines are real everyone arrives at ‘good enough’ sooner or later. Maybe ‘good enough’ is an iPhone, maybe it’s an Alexa, maybe it’s 35mm. Why doesn’t every project shoot on 70mm IMAX? Because it’s overkill for 99.9% of the projects out there which means something ‘inferior’ to 70mm IMAX is, wait for it, good enough. ????
I know this is mostly a semantic argument, but I’m just always amused when someone says, ‘We only offer the best to our clients’ when what they really mean is ‘We only offer the best to our clients… based on limitations such as budget, talent/equipment availability, and delivery deadlines.’
-
[Bill Davis] “But the most common scarcity in this is the one you conveniently left out… time.”
Time is an aspect of “availability.” A better option isn’t available because you’ve run out of time to get it; for a reporter with a breaking story the phone in your hand is better than the camera in your desk.
Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf
Reply to this Discussion! Login or Sign Up