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Honestly NOT trying to trash broadcast TV… just reporting what I see on my newsfeeds these days…
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[Bill Davis] “If you can’t see the value in that, you’re beyond blind.”
I think you are blind if you can’t see that it just isn’t a “one or the other” or “one verses the other” scenario.
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[Bill Davis] “Well, for me it kinda does.
Because it makes me grin wildly every single time I hit it and know I won’t have to spend another frustrated hour burning another freeking client review DVD!”
You do know that before the Vimeo link all you had to do was just upload it to Vimeo, right? I haven’t sent out an approval DVD five or six years. Maybe longer.
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[Oliver Peters] “X is different. It suits one-man bands well. It can also suit others equally well with significant workflow rejiggering. That doesn’t change with the media outlet involved. The same can be said for Adobe or Avid.”
The only point you’re making that I’ll gently push back on is my firm conviction that the “others” who you imply it does NOT suite well – have needs that are typically pretty “niche” in the overall scheme of video production and delivery in the modern world.
My contention is that for content creation and delivery for about a solid 90% of the video that gets delivered today across all modes and means and deployments – there is absolutely NOTHING about the current X workflow that isn’t accommodated by it’s current toolset. With absolutely no “re-jiggering” necessary at all.
Most of the aforementioned “re-jiggering” is done by people who have an established workflow that they have decided is is either impossible (some) difficult (more) or uncomfortable (most) to change in order to adopt the toolset built into X successfully.
Just as guys like Chris and Herb regularly challenge me with the contention that everything X can do – other editing software can also do – I keep asking people to give me examples of what X ‘cannot” do – that the average professional editor regularly needs to do – which seems to me a more important metric for any package attempting to find a place in a working editors toolbox. The answers so far have been things I don’t actually need to do. So I’m OK, I guess.
This does not address that other workflows or other needs aren’t important or imply that they’re not reason enough to choose a different tool.
Just that I can’t understand the constant need to push AWAY from X, when it has it’s own unique efficiencies like all the other compeitors.
Is is STILL the “we’re angry you messed with our favorite tool” thing? IF so, wow. Grudges about things can run as deep as those about people, I suppose. Something I don’t think about very much.
FWIW.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Chris Harlan] “You do know that before the Vimeo link all you had to do was just upload it to Vimeo, right? I haven’t sent out an approval DVD five or six years. Maybe longer.”
Maybe in TV Station land.
I’ve got mostly corporate suite clients. When they want to watch a DVD in a board room, they still have to call up “facilities” and have them send a tech.
They can mostly play them on their laptops – but only if the DVD player auto loads and the big PLAY button appears!
Allowing an employee to access commercial service video content over the corporate IT pipes via something like Vimeo is beyond unthikable in most of the corporate world.
Hell, allow that and everyone will be watching the Daily Show reruns rather than working! (which is actually probably true to an extent.)
As “insulated” as you see my thinking as being in these debates, I see yours as exactly the same in expecting the norm to be exclusively what others in a broadcast production world would reasonably expect.
And again TV and Movie Pros are only a small fraction of the class of “content creators” these days – and not at all the fastest growing class IMO.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Bill Davis] “Just that I can’t understand the constant need to push AWAY from X, when it has it’s own unique efficiencies like all the other compeitors.
Is is STILL the “we’re angry you messed with our favorite tool” thing? IF so, wow. Grudges about things can run as deep as those about people, I suppose. Something I don’t think about very much.
“This is far more in your head, than any actual reality. I don’t know of anybody who posts here who doesn’t recognize that X has its strengths and value. For me, the fact is that two years after its release it still doesn’t do everything I need it to. I also get that its not aimed at what I do, and there are things I admire about it.
And grudge? Would I have preferred to have spent some of the time I spent over the last two years retooling on something else? No doubt. Did I get something from doing it? Quite a bit. Do I believe that Apple still has as part of its core thinking that famous four-compartment square that Jobs drew up on his return to Apple? No. I think that’s gone. But grudge? Hardly.
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[Bill Davis] “Allowing an employee to access commercial service video content over the corporate IT pipes via something like Vimeo is beyond unthikable in most of the corporate world.
Hel”
Try drop box. All they have to do is click once.
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[Bill Davis] “As “insulated” as you see my thinking as being in these debates, I see yours as exactly the same in expecting the norm to be exclusively what others in a broadcast production world would reasonably expect.
And again TV and Movie Pros are only a small fraction of the class of “content creators” these days – and not at all the fastest growing class IMO.
“Look, Bill. An NLE is like a word processor. All kinds of people use it for all kinds of things. Trying to figure out who will dominate and win on either device is absurd.
You keep attributing thoughts to people that just aren’t there. I don’t expect the norm to be what studio production expects. I totally get why X might be more attractive to others, and have said so on many occasions. Yet you seem to continue to insist that I don’t believe that, or that I don’t somehow believe there is room for a whole variety of alternatives.
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Psy was on a label for a decade prior to going viral on YT and Justin Bieber got ‘discovered’ singing covers on YT and then got signed to a label. YT success stories like iJustine, FreddieW or Angry Orange (if you want to go old school) would be better examples of what you are looking for.
How much money do the people that up load the cat videos get paid? How much does YT earn on cat videos? How much does it cost YT to host and stream cat videos? Value in viewers? Sure. As long as you can turn that directly or indirectly into monetization. Assuming you are running a business of course and want to do things like pay your cast, crew, put gas in the car, etc.,. If you are working a day job and uploading cat videos as a hobby then it’s a different story. I’m going to work under the assumption that YT’s old business model wasn’t cutting it which is why they are switching to pushing premium channels, original content and are considering putting premium content behind a pay wall. Again, all the major streaming players are developing original premium content so there must be a reason for it.
What’s funny is along w/traditional media I’ve been involved in new media content creation and distribution for the better part of a decade and yer telling me I’m blind to what’s going on. I’ve sat in on more than one meeting where the gist was “okay, we have a healthy online community, our audience continues to grow but how do we monetize them so we can keep the lights on?” Again, being popular isn’t the same thing as running a successful business.
Digital Media? Traditional networks/studios/media corporations already have digital wings. If you don’t think that the old media players are involved (and will become more involved) in new media then you should take another look around. Let’s not forget that CBS, NBC and ABC started out as radio networks before they became TV networks. You know what most of my content creation friends in digital media want to do? Get a traditional media gig because they pay a whole hell of a lot more, lol. On a more serious note, many of them are fine with being paid less because they are working in content niches they enjoy and that don’t really exist in traditional media.
Are things changing? Of course they are and the change has been fast & furious since the DV revolution kicked off in the late 90’s/early 00’s. I’m not saying that things aren’t changing. I’m saying that we shouldn’t expect wholesale change to the big picture and that new media creates new opportunities as well as new problems.
Feel free to think I’m cynical, jaded, blind or whatever but I’ve grown up in the middle of all this change and I’m beyond the ‘wow it’s shiny and new’ honeymoon phase. I’m in the brass tacks, how do I make a living in new media phase (no, praying for viral success is not a sound business model) and the more I dig into that aspect of it, the more I dissect the success of others, the more similarities I see between old and new. Old and new players will co-exist for a long time and, IMO, most likely merge as opposed to one ‘killing’ the other.
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[Andrew Kimery] “Digital Media? Traditional networks/studios/media corporations already have digital wings. “
This is true even at the local level. Many TV stations have very active and profitable websites that feature both repurposed and unique content. They also produce custom web-only content for some of their local clients. I’m freelancing at one station this month and guess what, the same folks produce the web content as do the on-air content. In this case, using Varicams, studio shoots, FCP 7, PPro and After Effects.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Chris Harlan] “You do know that before the Vimeo link all you had to do was just upload it to Vimeo, right? I haven’t sent out an approval DVD five or six years. Maybe longer.
“On the last two documentaries I’ve worked on we’ve sent out stacks of DVDs to film festivals, sales agents, distributors, potential investors, etc.,. Probably a difference between long form content, short form content and where people prefer to watch each. We used streaming services as well but I think some people just like getting packages in the mail. lol
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