Quantifiable evidence

[Andrew Kimery]

I saw this the other day (all the results, not just this slide) and while I thought it was interesting I didn’t post it because selection bias is going to taint the relevance of the numbers. The results tell us info about the people that responded to the poll (I believe 400 responded to the poll), but there is no way to know how accurately the results of the poll represent the industry in general.

[Walter Soyka]

[Andrew Kimery] “The results tell us info about the people that responded to the poll (I believe 400 responded to the poll), but there is no way to know how accurately the results of the poll represent the industry in general.”

I do agree that the survey is not scientific, but I think there is no such thing as “the industry in general.” Not in any meaningful sense, anyway.

I thought it was interesting nonetheless. Ostensibly since these are questions asked of colorists about the projects they are working on, they reflect at least some element of collaboration and at least a meager budget.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive   |   RenderBreak [blog]   |   Profile [LinkedIn]

[Andrew Kimery]

[Walter Soyka] “I do agree that the survey is not scientific, but I think there is no such thing as “the industry in general.” Not in any meaningful sense, anyway. “

Agreed, and I thought the numbers were interesting too, there just shouldn’t be too much read into them. Especially since we don’t know anything about the methodology.

ACE (American Cinema Editors) used to do a member survey every year (I haven’t seen one for a while though) about NLE usage. Even though it wasn’t scientific either the pool was specific enough (only ACE members) that it gave a decent idea about which NLE was used most in the niche of Hollywood movies and big TV shows made in America. The results were also so dramatic that even if accuracy was off 10-20% it wouldn’t change the results (the last one I saw something like 80% Avid, 18% FCP, 2% Other).

[Aindreas Gallagher]

beyond old hat on this, but pretty much everything you walk into that isn’t broadcast is turning into PPro now – and viacom and disney locally are implementing PPro and CC across the board – disney is well in with AE for endboards and branding as you know there walter. and BBC WW going there too?

I’d say this – a lot of editors out there are very well disposed to ppro? there is a ton of good will. even hardcore senior avid heads inside broadcasters that are locked to avid for stability talk about ppro in surprising detail. odd side point: ppro has some serious facility level issues with lag and stability in terms of conflicting audio hardware settings. mad hornets nest.

but for corporate mixed design edit assets with animation there’s nothing within a country mile of it.
the source native timeline performance on older inexpensive hardware is nuts really.
and the fact that there’s full bezier masks for dodge and burn on promo shots now is crazy too. feels an embarrassment of riches.

*edit* embarrasment of riches to me at any rate – people may feel differently. I like the thing better than 7.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Scott Witthaus]

So this is mostly a poll for the broadcast and film niche? Quantifiable for that group, perhaps, but certainly not a good, random population to say what NLE is most used. Kind of like polling an upper-class suburban neighborhood to see what is the most popular kind of car in the world.

Actually, for X to have 17% is pretty good in this group. Amazing that FCP7 is still holding on strong.

Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter

[Aindreas Gallagher]

to say again but – even in PR shops that will debate client billing at a few hundred quid level in open office conversations – it’s ppro. X doesn’t win that end because it doesn’t play with the standing AE assets or the available talent pool. given the cards adobe have there is almost no way for X plus the hobbled motion to mean anything. also X doesn’t have near enough editors or shops employing it. off all that – seventeen percent is actually surprisingly strong in a way.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Andrew Kimery]

[Scott Witthaus] “So this is mostly a poll for the broadcast and film niche? “

Nope. People that work on everything from corporate to music videos to web to TV to film responded to the poll (from all across the world). Walter has a link in his post to all the poll results.

[Scott Witthaus]

But it’s a pool of colorists. I would hardly say that is representative.

Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter

[Tim Wilson]

[Aindreas Gallagher] “I’d say this – a lot of editors out there are very well disposed to ppro? there is a ton of good will. “

[Aindreas Gallagher] “but for corporate mixed design edit assets with animation there’s nothing within a country mile of it….feels an embarrassment of riches. “

I don’t think either of these can be overstated. Apple upset a lot of people, and Avid is Avid, but in the facilities world, few companies have more fondness toward them than Adobe. A debate forum here notwithstanding, those kinds of customers have been all-in on support contracts from the beginning. Creative Cloud and the water bill will be the two smallest monthly bills for many of them, and the idea of stopping payment on the latter is no more conceivable than stopping payment on the former. A non-issue.

With such a low barrier to try it out — $80? Why not? — and an adoption that doesn’t require rewiring one’s mind or workflow, AND integration with After Effects, I think a lot of people are kicking themselves wondering why they didn’t do this sooner. I also think more and more people are going to find it harder and harder to resist, even among those who’ve been hold-outs for strongly-held business philosophy objections. If it’s a good fit for your work, chances are good that it’s also the BEST fit, which historically may not have been the same thing. 🙂

[Andrew Kimery]

[Scott Witthaus] “But it’s a pool of colorists. I would hardly say that is representative.”

Go through the slides and decide for yourself. I’ve already stated that I don’t think the results can be extrapolated into the industry at large, but there is a pretty broad cross section of people that replied to the poll.

Warren also posted a quick video on vimeo where he talks about the results. https://vimeo.com/114318624

In my experience in LA, once Color got included for free with the FCP suite more small-time color shops started popping up and they basically started spawning like tribbles once Resolve Lite dropped. No/low budget things are getting colored in Reslove because why not?

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.