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You are all amateurs….
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If I go PRO… will it hurt my Olympic status?
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[David Roth Weiss] “So, go back to your your beergarten and swill down some more of that superb Austrian brew that brought you out of the shadows on this wonderful summer evening”
Yeah, and on your way get me a beer, and make me a sam-ich. 😉
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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[Brian Mulligan] “If I go PRO… will it hurt my Olympic status?”
Yes.
But we can give our comrades the best food, housing and maybe even Volga GAZ 24 to drive.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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Hey just so you guys are clear, every major network and motion picture company has a YouTube account. This “youtuber” earned over $500,000 last year on YouTube and have over 500 million views. So your Hampton film festival winner that had 15 people in the theater and was cut on whatever whatever pro and you got to do some sweet conforms and maybe even used color once or twice with some curves adjusts and tracked mask, I’m glad that qualifies you as a pro.
I’m actually enjoying using fcpx but I am considering premiere for 50% off and it’s nice integration with ae. But for now I can use fcp7 when I’m in a hurry and want to cut something with my eyes closed.
By the way I’m not attacking anyone but just putting things in perspective. The auteur broadcast editor that needs all his pro crap to make a cut. Let’s face it it’s all bs.
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Nope. I’m saying two weeks is just a tad too early to call it.
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“Those who cannot remember the past are condemned to repeat it”
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[Chris Kenny] “FCP got into the high-end market in the first place largely because it was adopted by the “Youtubers” of its day (back then the enabling technologies where MiniDV and Firewire), and some of them brought it along when they later moved upmarket.”
There is no way early FCPer can be thought of as Youtubers. Even though it was a fraction of the cost of AVIDs or Discreet Edits, it was a serious outlay of cash. A FCP was still 5-10K. We were also doing work we where getting paid for. (Which is the definition of being a pro). Our goal was also to use the tools to put out work that looked as good as people using an AVID and BetaSP or DigiBeta cameras.
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[Gary Pollard] “Frankly, the new Coen brothers won’t come from the ranks of those people giggling.”
Your only as good as your last picture. We heard a lot of that breaking the traditional Hollywood pattern talk with the Wachowski bros. But I’m not seeing any more big budget films going to comic book authors, or other outsiders.
This is the same line of thinking that lead to the reign of unknowns in the “New Hollywood” era. All it took was Heaven’s Gate to put a stop to that, even though some decent pictures came out of that era.
I wouldn’t hold my breath waiting for “New Hollywood II”, to happen any time soon.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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You’re right Justin. The organisation for which I predominantly work, like many, puts a very great deal of its programme content on Youtube too. I sometimes feel that corporations using Youtube for a PR boost is a bit of a distortion of its main value.
Frankly, I think the wisest thing is to be, as much as we can, software and even platform agnostic, although it’s harder for corporate production houses. I know one editor of two dozen European feature films, some of which some here will probably have seen, who tells me she has even edited a documentary on iMovie.
The horror. The horror.
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“Those who cannot remember the past are condemned to repeat it”
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It’s there. Maybe you are just missing it.
And the problem with “Heaven’s Gate” (which I happen to like as a movie) was the exact opposite of being a small Indie production.
It was that Cimino bought into the “production value makes quality” philosophy.
Give me “Heaven’s Gate” over “Transformers” any time.
Other people’s mileage may vary.
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“Those who cannot remember the past are condemned to repeat it”
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Dear friend, it is not 32mm. It is 35mm or super 35. 65mm or Imax is shot sparingly in features. Some people still shoot 16mm full gate or S16 for blow-up. Some shoot Red or Alexa or D21 or Genesis or F900. Some even shoot Canon 5D or EX1 god forbid. One thing that makes all pros universally related is their ability to work with others. Move files here there and everywhere. Have a producer or client sign that check at the end of the day for work well done. “I’m giving this a try” or “Just wait in six months”. You tell that to the man who pays you here and now and see where that will land you.
As for the FCPX lot’s who makes a living in post turned it down. No backward compatibility, no XML, no OMF for roundtriping. If you collaborate with others or need to update projects on the fly that’s a big NO-GO. OMG wait, what am I saying, there are thousands of posts saying the same thing.
So please if you want to be “on the edge” of transformation, learn some basics of production process. Most of all be humble. Last thing this industry needs is more people projecting the “image of the image”. Save it when you hit big times and are rubbing shoulders with bigwigs in La La Land. AND it’s 35mm not 32mm.
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