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Randy Ubillos retires from Apple
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[Bill Davis] “I can’t remember the last time I saw a broadcast delivery spec that wanted me to include bars and tone.”
For spots your correct, for program delivery, not so much. For PBS bars and tone are still part of the program delivery specs, even with digital (proRes) delivery. On the other hand, having a bars and tone generator is not something I would look for in evaluating an NLE — even I’m not that petty.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “For spots your correct, for program delivery, not so much.”
Yep, true for program length material, digital or not. Personally, I’d rather build my own bars/tone/test signal clips though. Even color bars have a zillion different flavors these days.
https://store.smpte.org/product_p/dve-pro.htm
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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
Really?
Tim
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Yep.
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[Herb Sevush] “doesn’t work for me as a business investment.”
Works great for me. No trinkets needed.
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Of course you can build your own bars & tone. We’ve all had to do that. Not needed for spots but every long form broadcast & film distributor deliverable that I have encountered has required them in the slating info. That’s not the point. Someone said it is “petty” to worry about bars & tone. But, seriously, how much programming time would it take for them to be added to FCP X? In four years? I guess I am the only editor on the planet that needs to use them. Oh well, FVP X is good for some things, not so good for others- just like MC & PPro which I also use.
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[Bill Marcellus] “I guess I am the only editor on the planet that needs to use them. Oh well, FVP X is good for some things, not so good for others- just like MC & PPro which I also use.”
Nope. I very occasionally need to use them. So 4 years ago, I built a set around a downloaded template, stuck them in an Event, and whenever I need them, I pull them over from that EVENT and plop them on the head of my storyline.
When Libraries came around, I realized that I had a bunch of similar “necessities” including a customized academy leader, 60 hz and 1K cue tones, My company logo, Client Logos, and a bunch of other misc crap that I could put in a Utilities Library and leave it on the Root Drive of my machine.
It’s trivial to copy one or all into any project as needed, and X even scales them appropriately!
So I needed to generate bars and tone exactly ONCE – 4 years ago.
That’s the whole theoretical POINT of X being a database folks, you do work ONCE and you can always find it and re-use it easily.
Which makes adding the code for a GENERATOR of bars a huge waste of effort, IMO. The magic of Generators is they provide a template that you can globally CHANGE over and over, like slates, titles, etc.
I don’t see them as being for things that I create once, then have almost NO NEED to ever change again.
Again, I have a database to keep track of those things.
Loath to say it, but once again, it smacks of being stuck thinking like your old NLE operated. If it’s a stock recurring item, it doesn’t NEED a generator. Just a file your database can track. Stuff that needs generators are things where you want to CHANGE the parameters with each new use – and bars and tone don’t quality. Unless, I guess, you want to change the colors on the bars to screw with other editors? And that’s a whole ‘nother kettle of fish.
FWIW.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Bill Davis] “Loath to say it, but once again, it smacks of being stuck thinking like your old NLE operated.”
I do the same thing in my new NLE that I did in my old NLE. I have a bin (in the case of Avid) or project (in the case of FCP or PPro) labeled something like “Andrew’s Toolkit” and in that I keep various things like slugs, custom transitions, custom effects, commonly used SFX, etc.,. Traveling with your own ‘toolkit’ plus your custom settings (keyboard, windows, etc.,) on a thumb drive was one of the first tips I was given by an experienced freelancer when I was first starting out.
EDIT: FWIW, I don’t think Avid has a bars generator (it has test pattern stills that you import) though I think it does generate tone. Shows you the last time I had to worry about that…
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An edit tool may have little use for Bars & Tone but a finishing tool should. X isn’t a finishing tool in that sense. Although many might use it to edit & finish, in broadcast & cinema it isn’t going to perform that task. Legend was better able to be used as a finishing tool as I did for many years and having generators mattered.
Taking a video file of bars and scaling up or down would not pass muster in broadcast. Resolve has generators because it is aiming at being a finishing tool. It has generators that help with monitor calibration. Again not something most X or Pr users might think they need.
It is not old school thinking but entirely based on what the tool is designed for. X doesn’t need generators if you can work around it but if you were delivering broadcast tape (yes I still need to do that) then generators matter. I would say it was almost a design philosophy not to put them in as that would be so trivial to do.
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[Michael Gissing] “It is not old school thinking but entirely based on what the tool is designed for. X doesn’t need generators if you can work around it but if you were delivering broadcast tape (yes I still need to do that) then generators matter. I would say it was almost a design philosophy not to put them in as that would be so trivial to do.”
Do you know if Symphony has generators?
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