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online editing a thing of past?
I’m interested to know who goes out from their own system onto air in commercials and documentaries, versus going to an on-line facility to on-line edit the show? Do a lot of folks just do their finals via their system and output to beta for broadcast these days?
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8 Replies
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[Jeff] “Do a lot of folks just do their finals via their system and output to beta for broadcast these days?”
They have for years now.
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Just about everyone I know who does this does it on their own.
And, as it is with anything else, some are a lot better at it than others.
Dean Sensui — http://www.HawaiiGoesFishing.com
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Unless it is very high end network stuff, this is the way. Actually, MOST network, even cable, still offlines and onlines. Commercials are different, but I do work for Discovery Channel and National Geographic and History Channel, and the offline/online workflow…going out of house for online…is still the standard practice.
But this is Hollywood, and old habits have a way of sticking around…
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I also work in Hollyweird, and we have been onlining on NLEs for years now. However, we still do tape to tape color correction at facilities using DaVinci for most projects, and we’ll probably keep doing that until Hell freezes over.
DRW
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Oh, we still online on NLEs…we offline on Avid Media Composers at 15:1 or 20:1, then online on a Symphony, and either CC on that, or go the DaVinci route.
Very few shows still online tape to tape.
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[David Roth Weiss] “we still do tape to tape color correction at facilities using DaVinci for most projects, and we’ll probably keep doing that until Hell freezes over.”
David,
Last time I checked it was pretty close to freezing out there!
We used to do the whole “it’s gotta be a Davinci” thing, but now all of our on-line (including color correction) is done with FCP. Check out the “Final Touch” color correction program for FCP. If you can afford a DaVinci session, you can afford to buy this program. Now, all you’ve got to do is either learn it yourself or pay the guy who used to work at the post house to come work at your place.
The times they are a changing.
Mark
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I think the hardest part about convinving people about the offline/offline thing as a facility nowadays it storage space.
Even back to five years ago, 140Gb of online Avid giving 2 hours uncompressed space would cost a couple of grand, and therefore offline then online was a neccesity (unless you had less than two hours worth rushes and render needs).
But, sitting here with 5.6Tb of storage to play with, people are now asking to go straight to online for their offlines, to save a days reconform. The big problem (as I’ve just explained once more to the director) is that working at online 1280 HD 10 bit slows the machine down when doing graphic stuff (mostly re-grading shots). So we sit here for a while waiting for a color effect to render, only to find it doesn’t look right and go for it again – wasting a lot of time.
I’m not saying I want to offline at 20:1, but I still think there needs to be a case (for facilities like mine) to be able to advise people that their impatience will actually cost time.
And as to the offline/online on your FCP system at home, I remember when avid released FreeDV and there was a mild murmer of discontent that people would be able to edit themselves, some guy simply wrote, “You can give anyone a pencil – but that doesn’t make them a writer” (Except he wrote that a bit better).
And I think it’s true. There’s a reason an online editor is an online editor. Fine, online at home, but you’re missing out on a lot of skills, knowledge and experience that could turn an ok programme into a special programme.
Of course, the last thing to add to this discussion in that same line of thought though, do the people who off and online in their spare rooms take the programme for a sound-dub? Bet you they don’t.
For cable channels, who have little or no budget, I guess it’s fine to lose a step of gloss along the way, as the money just isn’t there. Where I start to object to this kind of approach is when the major channels cut corners this way – the budget’s there, but it just doesn’t get funneled into the right areas.
Anyway. Render finished. Better go.
John
John
Success is merely a failiure to imagine more…G5 2.7Ghz, 4.5Gb ram, Blackmagic Decklink/multibridge, 5.6Tb Infortrend storage, FCP Studio 5.02, Makie MCU control, Yahama 5.1 surround, JVC DTV multi-format monitor, 2x23inch Apple monitors – and a partirdge on a pear tree.
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Final Touch is pretty darn good. I’m liking it a lot, and in development are a set of plugins for it, that I’m sure anyone using it will find very useful indeed.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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