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Nothing Is Professional & Industry Standards No Longer Exist
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Excellent idea.
Tim
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A real Jedi Master has spoken.
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[Alan Okey] “By the same token, editors who like and use FCP X are not necessarily any less “professional” if it fits their needs.”
I would say there are levels of professionalism. Some more, or less than others. Just like there is a huge difference between the neighborhood handyman, a licensed plumber and and master pipe fitter that is certified for critical work such as nuclear reactors and high pressure boilers.
I see the noobs that can only cut on X as being in the ‘neighborhood handyman’ category. Certainly adequate for simple jobs, but woefully inadequate and over their head for other jobs and workflows.Scott Sheriff
Director
https://www.sstdigitalmedia.com“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
Where were you on 6/21?
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Come on a professional means someone makes money is there a different levels of money?
A professional is a person who is paid to undertake a specialised set of tasks and to complete them for a fee. The traditional professions were doctors, lawyers, clergymen, and commissioned military officers. Today, the term is applied to estate agents, surveyors, environmental scientists, forensic scientists, educators, and many more.Be professional and except the term. 😉
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[Thomas Frank] “Nothing Is Professional & Industry Standards No Longer Exist”
Fanboi idiot blather. That is perhaps the stupidest statement I have read all month.
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[Thomas Frank] “Come on a professional means someone makes money is there a different levels of money?”
A wedding videographer makes less than a Feature film DP, or network TV DP. And the level of experience, and equipment needed, is vastly different.
A local commercial editor, or “realty editor,” wedding editor makes less than a feature film editor, or network TV editor. And have different NLE needs.
Corporate video even has different levels of pro. The person who edits the simple training video might not be on the same level to edit the high end corporate sales videos. Same with DP. Training videos might still be shot on DV, and can be edited with FCE, Avid DV…most likely with Legacy FCP. HIgh end video, shot with Red, or Arri Alexa, or F900…edited with Avid or Legacy FCP.
Yes…there are different levels of professional. The training video editor might get $100-$300 a day. Feature film editor…$600-$1000 a day. Feature DP vs the training video shooter…yeah, HUGE difference.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Jim Giberti] “[Alan Okey] “Editors who dislike and do not use FCP X are not necessarily old and inflexible. It’s not that they “just don’t get it,” or that they are dinosaurs; they just don’t like it, and choose not to use it. By the same token, editors who like and use FCP X are not necessarily any less “professional” if it fits their needs.”
Perhaps Cow could make this into a carved sign and hang it at the top of the forum.
“I’d sign it.
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Indeed. Just because their are more industry standards than there have every been does not mean that they no longer exist.
Tim
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[tony west] “I found the camera part interesting though. I agree that camera manufactures couldn’t care less if you can’t play there newest codecs on your old stuff. They just put out their new stuff and expect you to keep up. Your P2 player that you spent a lot of jack on can’t play the latest codec? “Too bad, buy another one” seems to be the attitude. I never really hear people complaining about it. It’s just accepted as that’s how it is.”
Tony, I hear you here.
However, I think it’s worth noting that there are many things about new camera formats that aren’t changing as rapidly as the recording codecs: soft things like video standards, file wrappers, and metadata structures, and hard things like HD-SDI out, serial control, the physical recording media itself.
You may need to change out single pieces here and there to add capability, but adherence to (or coalescence around) industry standards means you don’t have to re-engineer an entire studio infrastructure or workflow just to use a new record format.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
Cameras changed huge when Red hit the market; effectively, they renamed 4K. Whereas it meant 4,000 lines of each R, G, & B, Red made it 4k across the top, with a CMOS. It caused a lot of discussion.
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