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Nothing Is Professional & Industry Standards No Longer Exist
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[Thomas Frank] “Come on a professional means someone makes money is there a different levels of money?”
Sure there is. Shane pretty much nailed it. Just like there are different levels in quality of professional tools.
I see a huge difference between someone using X on a 15″ laptop that is pretty much dedicated to supporting something consumer oriented like a 5D, and someone with a dedicated facility with multiple NLE’s, and the I/O options to support whatever walks in the door from VHS to 4K.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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[Joseph W. Bourke] “”Apple has a system in place in which we can get what used to be major upgrades as free updates, faster and easier than ever before, that no competitor can yet match today. I just don’t see Avid or Adobe getting updates out this fast, this easy. But I bet you anything, very soon, you’ll see them start to make inroads to this new paradigm, as well as metadata, database centric organizational tools.”
AVID and Adobe don’t need to get updates out “this fast, this easy” because the updates work. They don’t then have to scramble pushing out bug fixes, or adding patches for features they took away, or broke.”
And it is more moronic blather, as well. How is going to the iTunes store any faster than downloading a patch? And what on earth does he mean by “what used to be major upgrades as free updates?” That is a crazy statement. Does he think Apple will never do an upgrade? Does he not know that incremental .fixes are almost always free from whoever is releasing them? FCP X University, indeed. Hot Air University, more like. With a major in Bellicosity.
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[Herb Sevush] “The reason being that they come from the feature film world, where you are directly replacing a film process with a digital equivalent. To be picky, those are digital workflow expressions, not NLE specific. They make sense when dealing with clients who knew the film equivalents in the first place – there are plenty of corporate clients who wouldn’t know what you were talking about.”
Everything started there and we keep doing the same. The only thing have changed are the technical means.This guy of the FC UNIVERSITY said very stupid things:
[Thomas Frank] “Seriously, any season pro is smart enough to learn FCP X easily with proper training (just like they did way back when for whatever they’ve been using for the past decade), and anyone who says otherwise is either a liar, or really stupid.”
I didn’t need to learn new language or new concepts to work with FC.
Most of all, I didn’t need to try to forget nothing I was used to, to start editing in FC since the first day.
rafael -
True and its all still Professional right?
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I wonder if the blog arthur is following this?
Would be interesting hear what he has to say, or will take it down… -
[Chris Harlan] “I’d sign it.”
Save room for me…
David Roth Weiss
ProMax Systems
Burbank
DRW@ProMax.com
http://www.ProMax.comDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Scott Sheriff] “Thomas Frank] “Come on a professional means someone makes money is there a different levels of money?”
Sure there is. Shane pretty much nailed it. Just like there are different levels in quality of professional tools.
I see a huge difference between someone using X on a 15″ laptop that is pretty much dedicated to supporting something consumer oriented like a 5D, and someone with a dedicated facility with multiple NLE’s, and the I/O options to support whatever walks in the door from VHS to 4K.”No Scott, he did not. (Nail it.)
The last “wedding video” that I watched was produced by NBC and the BBC – and was likely the single most costly live video production of the past 100 years. The Royal Wedding from England.
I’ve read stories of guys working in the middle east, who regularly have six figure “wedding video” budgets.
This view that editor ‘A” is at the top level, and editor “B” is at a significantly lower level is one largely propagated by those who have comfy seats at the top and feel that they therefore possess some specialized knowledge that makes them “superior” to others.
What they have is demonstrated interest in improving their skills over time – combined with the luck and career navigation chops to have found and stayed in their seat – again, over time.
I’m not dismissing this. It’s very hard to become good at something as complex as video production. But there are literally thousands, if not tens (or perhaps hundred!s) of thousands of people doing similar work, world wide. The guys in the seats at the BBC, or the seats in Norwegian TV aren’t any more or less “special” than you or me. And I’m sorry, but there are a lot of folks in seats in small production companies who, given the chance could grow into editors every bit as accomplished as anyone of us chatting here.
There is no “magic” that makes one person a “pro” and another an “amateur.”
Consider that on the set of Memento, young Chris Nolan didn’t have much more than passion and drive and some good ideas – certainly no where near the “professional experience” that you or I have been privileged to have earned – but he managed to slingshot himself beyond all of us. Why? Because “professionalism” isn’t just ONE thing. It’s a range of things, and his combination of skills were singularly effective for his time and place.
And trust me, there’s an “event video” guy out there who’s probably a better overall video professional than you or me. Also, likely, some nice lady cutting in the back room of a shabby documentary production group in Bankok.
To think otherwise is hubris, plain and simple.
The explosion of low cost high capability video production tools is going to change the game. Not fast, but over time. And sorry, but having nothing more than “editing skills” is going to be a smaller and smaller “differentiator” in the years to come.
Time to add new skills. Perhaps better people management, data wrangling, or art skills – because no matter how complex visual editing is at it’s core (and it IS complex) it’s inevitable that more people today know how it works than ever before. And in a generation, it’s going to be like the number of people who know how to type.
Yes, there will still be “great novelists” – but also great newspaper writers, great greeting card writers, great ad writers, and great poets – and all of them are worthy of respect.
FWIW.
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Bill Davis] “Consider that on the set of Memento, young Chris Nolan didn’t have much more than passion and drive and some good ideas – certainly no where near the “professional experience” that you or I have been privileged to have earned – but he managed to slingshot himself beyond all of us. Why? Because “professionalism” isn’t just ONE thing. It’s a range of things, and his combination of skills were singularly effective for his time and place.”
I see the point you are trying to make, but I’m not so sure that’s a really good example. Filmmaking is a highly collaborative process. On Memento, Nolan also had the help of more experienced pros, like DP Wally Pfister and editor Dody Dorn.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Bill Davis] “The last “wedding video” that I watched was produced by NBC and the BBC – and was likely the single most costly live video production of the past 100 years. The Royal Wedding from England.”
That’s really stretching the idea of a “wedding video”, Bill. No slurring speeches, no awkward dance, no drunken disco.
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[James Mortner] “No slurring speeches, no awkward dance, no drunken disco.
“Not on the TV coverage at least
Steve Connor
“FCPX Agitator”
Adrenalin Television
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