The shape of employment ads to come?

[Bob Zelin]

In Alex4D’s “job post” –

How certain are you that you would be able to place the complete multicam into a new project, decide on the best angles, add GVs when needed, do a basic grade, add a limiter to the audio tracks if needed and then export an XML of the project and send that XML back? We’re not trying to trip you up here, It’s an honest question about your expectations on your own abilities.”

REPLY –
so an AVID editor that can do a Multicam job that he has been doing for 15 years, use Symphony secondary color correction, use Pro Tools to limit the audio tracks, and then export an XML out thru countless compressors (let’s say Sorenson for this example) – is unacceptable ?

so a Premiere editor that can do a Multiclip job that has been doing so since the day FCP 7 was discontinued, he can use SpeedGrade for color correction (or resolve) use Audition to limit his audio, and Adobe Media Encoder to export out an XML – this is unacceptable ?

so a Resolve Editor that can do a multicam job on Resolve 14, use integrated Davinci Resolve for his color grading, use Fairlight to limit his audio, and use any one of countless programs to export an XML – that is unacceptable ?

Are you implying that if you don’t do this in FCP X, it’s impossible to do this job, because FCP X is the only software program that works for a “complex” workflow like this (and for those editing a long time, this is not what I would call a complex workflow – it sounds like every reality show job I was ever involved with).

bob Zelin

Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com

[Bill Davis]

[Bob Zelin] “Are you implying that if you don’t do this in FCP X, it’s impossible to do this job, because FCP X is the only software program that works for a “complex” workflow like this”

Nope.

I’m saying somebody wants an editor who can do THIS level of work in THIS program – because the employer has a team that’s apparently really happy with their workflow and doesn’t want to mess their shop flow up with someone who doesn’t understand the tool they use.

If you kept EVERYTHING in this ad exactly the same – but asked for AVID workflow stuff instead – – you guys would just be nodding and moving on.

But it’s X so I guess it needs to be challenged as an outrageous ask?

Kinda the definition of Bias, when you think about it.

The interesting thing about the ad to me – was how specifically they tuned the job requirements descriptions to eliminate all but the editors who would honestly know enough about the app to be ready to go on day one. No part timers or dillitants need apply. Know your stuff or don’t bother.

THAT is the message that most came across to me.

Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.

[Neil Goodman]

sounds like most of that should be left up to an AE.. call me when its time to choose the angles ????

[Neil Goodman]

btw this is the first job post Ive seen for FCPX in ages. Nothing else really indicates in the current climate that this will be “the shape of things to come”.

[Bob Zelin]

Hi Bill –
I know that you are a nice guy, and I know that you are a smart guy.

But your example is ridiculous. And people like Shane know that this is rediculous as well. WHY ?

Because of our background.
“If you can’t finish this in a CMX linear suite, then you are NOT hired”
“If you can’t finish this in an AVID Suite, because YOU want to work in FCP 7, then you are NOT hired” (how many times I have I heard this through out my career).

OH – I forgot a big one –
“We can’t finish this in Media Composer. If they don’t have a Symphony, we can’t on line our show there”

And then once FCP 7 was over – (and it took a LONG time for FCP 7 to be over) –
“if you can’t finish this in Premiere, then you are NOT hired”.

and now “if you can’t finish this in FCP X, then you are not hired”

But I am giving you a hard time Bill, because I see this now – “If you can’t finish this in Resolve, then you are NOT hired”. Do you understand that FCP X is now “old” and while it is a wonderful well established program, that there are the “new guys” – the guys that edit and color grade in Resolve, the guys that do audio in Fairlight, the guys that NEVER use Motion, and think that FUSION is the coolest thing in the world. This is no different than you and I saying “that new band sucks, the really great music was XYZ (Beatles, Zeppelin, Eagles, Who, etc). Even though you listen to NEW music, there are YOUNG GUYS that think that the REALLY NEW MUSIC is the cool stuff, and you are old and obsolete. And that WAS FCP X and now it’s RESOLVE. (this is not my opinion – most of my current clients use Premiere – I am just bringing up an example).

bob Zelin

Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com

[Shane Ross]

I have no problem with that ad…They want someone who knows FCPX VERY WELL. No different than needing someone who not only knows Avid, but also Sapphire effects and how to make VFX in the show yourself. Or needing to know Premiere Pro inside and out. This is normal. There’s one company that I’d LOVE to work for, they do shows I really admire. But I can’t work on them because I don’t know FCPX…which is one reason I’m going to give it a fourth go.

The only issue I have with the ad is that they don’t give one hoot about your CV (resume). They don’t care what you worked on, well, I guess they do..they want to see a reel, and that will show the STYLE of things you work on. I would have said all they care is that you KNOW THE TOOL….which is an odd thing to only require. BUT…they did ask for a reel, and that, pretty much, is a resume. Shows the type of shows you worked on, and the cutting style. ALTHOUGH…how do they know that you cut those shows on FCPX?

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Oliver Peters]

Calling this “the shape of…” is kinda clickbait, don’t you think? They want qualified applicants who can fit into their workflow and don’t have the time for someone to BS them. No different than someone with a workflow based on any other tool. In short – no time for on-the-job training.

Glad to see a bit of pro growth with FCPX.

– Oliver

Oliver Peters – oliverpeters.com

[Bill Davis]

[Neil Goodman] “btw this is the first job post Ive seen for FCPX in ages. Nothing else really indicates in the current climate that this will be “the shape of things to come”.”

A: Hardly anyone from the wider X communities come here anymore. It’s been too hostile for too long. It’s just us long timers left.

B: I made the “shape of things to come” comment basically indicating that it’s getting to the point across the industry where it’s no longer enough to be a part timer or a casualist in ANY of the tools we use to make our livings. Get really good – or someone else will. And they’ll likely land the gig.

Nothing more implied than that.

Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.

[Bill Davis]

[Bob Zelin] “But I am giving you a hard time Bill, because I see this now – “If you can’t finish this in Resolve, then you are NOT hired”.”

Oh I totally get that.

But I still think it misses the wider point. What’s changed isn’t how the tools work, so much as it’s how the world works. It’s the new constantly connected, constantly evolving media creation and distribution landscape.

I know many others have jobs where they just need to make the best version of THIS video that they can, and their job ends there. I respect and honor that. But just don’t see that as necessarily my overall goal anymore.

X feels less and less to me like it’s JUST a “videomaking” tool – and more and more like it’s a cohesive environment that looks well beyond just the timeline.

Maybe AVID and Premiere and Resolve are going there too. I don’t know because I don’t use them. But I haven’t heard much about any unique or revolutionary approaches being built into them. It SEEMS like they just want faster and more dependable versions of their existing toolset. And I get that.

But I don’t think that’s going to be enough to keep up with the pace of change.

Well, at least the change on the “general editing” side. There are certainly niches like motion picture or network TV where the workflow is pretty fixed and pushing change is really hard.

But out in the wider world of video creation, one way to meet the stress of increasing pace, is with more automation and enhanced throughput.

The tools in X such as magnetism, the keyword system, auditions and Roles – take HUGE swaths of effort out of creating and pushing separate versions of the same basic video to clients. Heck, Auditions alone, used smartly, let you re-edit a video from approved pools of content components in a few clicks.

Maybe all the other NLEs will move more toward this type of automated metadata driven assembly. If so that will improve things for a lot of editors. But so far, I don’t hear other editors asking for stuff like that, much. .

If and when the other programs adapt this way (if they do) I hope they have an easier time than X did getting “buy-in from their constituencies on the re-learning needed to operate these new types of systems.

Editors apparently all want change – but not too much. As always.

YMMV.

Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.

[Neil Goodman]

[Bill Davis] “A: Hardly anyone from the wider X communities come here anymore. It’s been too hostile for too long. It’s just us long timers left. “

I look all over the net for job postings, the cow is the last place id expect to find work.

Point taken – but this isnt close to the first time this type of specificity was in a job post.

Theres a whole bunch of people who wont look at resumes unless they have “bravo” experience, etc and the list goes on.

Also the workflow they are describing inst super complicated nor is the show. Anyone could figure out to multi cam and all the other specifics scenarios they called out on you tube in a couple hours.

To me thats the scariest thing about today’s Job market. Anyone can learn the menial tasks at home in their underwear for free.