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ITV studios convenes meeting. basically tells attending avid editors to start using premiere.
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[Tim Wilson] “And a workflow so complicated it took a book to explain it. “
I’m not sure that’s a fair assessment. I’ve had a chance to interview Murch a number of times and having cut a few features myself (tape, film, files, Avid, FCP 7, FCP X), I get where he was coming from. A lot of folks who deal with a mish-mash of formats in commercial and corporate and even TV work, don’t have a clear idea of the feature film workflow for the editor. That “team” of people is there to take care of getting everything into a common format for edit proxies, manage the translation of lists and make sure the final edit list makes it out correctly at the other end. From the editor’s POV – other than dealing with a lot more footage – the process can even be simpler, because there are almost NEVER dealing with raw, native elements.
In the case of Fincher’s team, my guess is that Kirk Baxter’s workflow with PProCC is a lot like it was with FCP 7. Basically the RED files get handled by the assistant editor. The actual edit is with transcoded proxy files. From that edit list, the RED files are conformed into some format that goes to grading. At the DI stage they still have access to the raw RED files if need be.
The big thing about shifting away from Avid to something else – anything else – is that the whole team has to be on the same page. There is an established workflow that assistants, VFX houses, the sound team, etc. all understand. More important than the actual workflow is that the product can be delivered within a predictable timeframe based on that workflow. If you, as the editor, make the decision to something else (with the blessing of all the powers that be), then you better be able to deliver in that same timeframe without any issues along the way. That means everyone in the loop not only has to buy-in, but they have to be solid in knowing and working within the guidelines of that workflow.
Anything less would mean, as they say, “You’ll never work in this business again.” 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “If you, as the editor, make the decision to something else “
could there be an argument that would run to the fact that say – a company like ITV with premiere – if it gets into the large scale global franchise productions they have – like downtown abbey – would provide clear guidance on the valid inclusion of adobe into large scale complex workflows? As opposed to one single really persuasive editor?
ITV’s Coronation Street – Britain’s largest soap, is pretty seriously in bed with adobe to the extent that adobe story underpins the entire production workflow. ITV pretty much got to tailor story development to their requirements. they use it on other productions as well. They’re on adobe.tv and they sound happy.
story is piped directly into premiere ala their script sync implementation – it would be nearly a surprise if ITV don’t start deploying that.
**edit:
the argument being: wouldn’t a hollywood studio strategically looking (outside avid possibly) to the future be more likely to look to something on similarly large decision ground – with thousands of employees involved – rather than any given single editor’s preference? or any workflow d.i.t. on the make?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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And to pile on 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I had a good experience with Adobe’s “scriptsync” in a short with one very clear vo. Not as good an experience with a longer project with diverse voices.
Tim
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ha! I’m only just after editing my post for politeness at that.
well -still so the count – the world cup, ITV studios, Fincher, the Coens, CNN, Turner, Disney UK, associated press et al.
death to rental for sure; but nothing, for me, beats the FCP7 design squatters editorial skillbase being held intact.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “the argument being: wouldn’t a hollywood studio strategically looking (outside avid possibly) to the future be more likely to look to something on similarly large decision ground – with thousands of employees involved – rather than any given single editor’s preference? or any workflow d.i.t. on the make?”
There is certainly logic to that, but three things work against it.
1. “If it ain’t broke, don’t fix it.”
2. Some studios have their own rental operations to supply edit systems among other items. Those managers are interested in getting as much mileage out of the gear as they can. So a lot of investment in Avid gear, including storage.
3. Some defer those decisions to trusted suppliers, like other rental companies, post facilities, etc. These also have an investment in Avid gear.
So yes, shifts are possible, but possibly slow. But you never know, since as we’ve seen, shooting on film declined a lot more quickly than many of us would have thought.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Aindreas Gallagher] “well -still so the count – the world cup,”
You might note that’s UK’s Simon Walker in one of those images.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “These issues equally plaque FCP X.”
Well, it wouldn’t be so bad if FCPX would brush and floss regularly. 😀
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[Gary Huff] “[Oliver Peters] “…plaque FCP X.”
…would brush and floss regularly”I blame my iPad. 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
at the limit of my manure – the place where I am for a bit – hard to describe the inertia with avid. Some editors are amazing, some are not. It is a lottery assigned under a closed avid system. Ultimately avid is an odd system that produces odd situations – it’s a head of cabbage or something.
I get that the best people on earth edit with avid but –
It’s utterly weird and defensive software that brews weird and defensive editors.
let’s highlight the keyframe icon in the programme monitor in order to alter its attributes after I hold my toe.
let’s alt drag right to left of left to right to select my leonardo da vinci trim god modeeveryone knows this right? No. Avid is guild software. It wants to be secret and stupid. No one else wants or needs that to happen.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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