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More Resolve
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[Tony West] “If you don’t bring in footage that looks near perfect your work is shunned by most editors around here.”
I like to grade too, but I don’t like it when most of my grading time is spent fixing someone being lazy (or just horrible) in production. The bane of my existence (more as an editor than a colorist) is footage that meanders pointlessly all over the place like someone just strapped the camera onto the head of Jack Russell Terrier. I used to shoot (mainly live sports) so I feel completely justified in colorfully critiquing the footage that comes across my desk. 😉
[Tony West] “I certainly don’t hear anybody saying they are gong to give up what they love to cut on so they can grade more.
That’s honestly what I see, and I know that’s not unique to this area.”
Yeah, I see BM trying to expand their footprint in places that already work with Resolve in some capacity as opposed to trying to win over new converts (at least for now). To a degree it’s similar to how Adobe Trojan Horsed PPro with AE & PS. When contemplating a new NLE I’m sure many people fired up PPro in part because it was already installed w/the rest of the Adobe apps.
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[Andrew Kimery] ” footage that meanders pointlessly all over the place like someone just strapped the camera onto the head of Jack Russell Terrier.”
hahahaha love it : )
[Andrew Kimery] “I see BM trying to expand their footprint in places that already work with Resolve in some capacity”
Totally agree
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[Tony West] “Remember how the rub on X was that nobody was using it in the industry?
There were no job postings for it so what was the point?
Well, nobody in my town is using R12. Heck, not only is nobody using it, but nobody is even talking about it.
“The difference being R11 is very much so deeply integrated in the post production workflow in LA at least…for coloring. Its main focus. Still alot TBD for its editing capabilities.
Focus came and went – I still dont ever see Job Postings for X in LA. What happened to the storm that was coming that Bill Davis was talking about? The I need a FCPX Editor Facebook group is crickets for the most part.
Oh actually saw one this week. Was 200 a day for broadcast level work. hmmm a little underpaid no?
Not dissing X at all, i like it for somethings I do but at least here in LA – we aint using it yet.
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[Neil Goodman] “The difference being R11 is very much so deeply integrated in the post production workflow in LA at least…for coloring. Its main focus. Still alot TBD for its editing capabilities. “
Are there a lot of job postings for people to edit with R11 outside LA?
I’m asking, I don’t know.
I know more people around here using X than R11
I don’t know of anybody looking to pay somebody to cut something on R11 around here.
That’s not to say that people shouldn’t cut with it if they like it. Same as any other NLE
I don’t really pay much attention to job postings.
I get all my work from referrals. Seems for folks that have been in the game for a while, they do the same and get their rate.
The folks that did FOCUS said they will do their next film on X
That will come and go also like other films do.
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[Tony West] “Are there a lot of job postings for people to edit with R11 outside LA?”
For editorial, no.
I said for colorists R11 is deeply integrated into the LA post scene. R12 will be no different.
Will people start using it exclusively for editorial – probably not at big shops/networks for the same reason why X isnt, because its not a tried and tested bullitt proof system – YET. One man bands – probably.
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[Neil Goodman] “For editorial, no.
I said for colorists R11 is deeply integrated into the LA post scene. R12 will be no different.”Agreed. Up until R12, Resolve wasn’t remotely viable for editing, except for tweaking a largely locked cut. However, I have seen at least one write-up of a producer who claims to have cut his indie film with it.
That could change with R12, but I think it will still be in the area of finishing, rather than creative cutting. If you really like X, R12 makes great secondary NLE for times when its features are what you need.
But, as a color correction tool, DaVinci going back 4 decades has been the dominant product for color correction – first in film transfers and then later in tape-to-tape and not file-based correction. That’s true all over the US and in much of the rest of the world.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “However, I have seen at least one write-up of a producer who claims to have cut his indie film with it.”
I’m sure someone has completed a marathon in high heels but that doesn’t make high heels appropriate (let alone the best) tools for the job. 😉
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[Andrew Kimery] “I’m sure someone has completed a marathon in high heels but that doesn’t make high heels appropriate (let alone the best) tools for the job. ;)”
The shoe simile I use is “You can drive a nail with a shoe, but it’s not ideal. And if you ever need to take a nail out, it’s impossible.”
Shoes. The new cars. LOL
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Be sure to remove the pebbles from said shoes unless you enjoy walking around on all flats.
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[David Mathis] “Be sure to remove the pebbles from said shoes unless you enjoy walking around on all flats.”
The pebbles keep you alert, they are feature not a bug. 😉
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