Aindreas Gallagher
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I was brought in on a sunday to defend the decision to deploy FCP and xsan across promos and design at aljazeera english just before launch, I’d actually helped spec the systems for the promo suites, (I’ll have lots of macs with blackmagic and things please, and an 80TB Xsan while you’re at it)
but then there was a massive push to management by engineering to reverse the decision right before launch and force us all onto PCs running grass valley’s weird edius system feeding directly into their K2 storage system.I knew hardly anything about edius, I just knew I wanted FCP, so I started banging on about edius’s poor effects architecture, and the lack of qualified freelancers to drive it when we needed them, then when I was asking the demo guy about it, I realised that it didn’t have OMF export out for the audiopost suite (which it didn’t then) – grass valley were expecting everyone (including long form doco cutters) to lay A1 to A4 stems down onto the hdcam and let the audiopost guys sort it out, in a station with one audiopost suite, that was churning out 30 minut docos like they were going out of style – I leapt on it and a made a holy show about how it was unacceptable that a pro editing system couldn’t talk properly to audiopost – the head of engineering looked murderously annoyed, and our creative director was nearly clapping his hands as he was very keen that we stay mac based.
Engineering gave up after that – everyone else got lumped with edius and we stayed FCP – but they basically swore that we would never have proper access to the K2, and that we would never have dedicated decks – all that they would offer our four suites was a shared tieline to *one* of the decks in the machine room on the other side of the station – with a KVM switcher.
Not that Grass Valley would ever have induced engineering to blanket the station in their slightly weird editing system, we never heard rumours of junkets, financial inducements or anything awful like that. oh no.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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Hey – I checked – they’re editing on macs.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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I’ll ask what they used to use, but I’m guessing it was something like newscutter or its ilk. they have other stuff for producers batching together clips with script and dialogue transcripts.
its not typewriters tho – think of AP Camden like an amazon stock warehouse for news material. large volumes of stuff being collated, but they do produce their own packages as well as bagging together the base GVs, IVs quotes material for another broadcaster to construct a tailored package.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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yes. I’ve been saying it for way too long, but I think you can feel the drift to premiere starting – I’ve started to see “PREMIERE” appearing beside the ever-present “FCP” and “AFTEREFFECTS” folders in the jobs project folder in a few places.
I’m hoping to be in a position to reliably cut with it by the time winter kicks in.
[Michael Hendrix] “most have started to edit with Premiere for one reason, they already have it.”
this more than anything – there’s a bit to get used to, and I haven’t really yet, and some stuff you miss, but not a lot. And you get a lot of nice new things.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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there are different levels of packages produced in camden – a lot of it is wholesale material to be used by third parties, but not all of it. I would also presume that adobe lifted their skirts and showed adobe anywhere early. Also prelude is pretty handy in the context of a place like AP – have you tried prelude? its really nice. I’ve been messing around a fair bit – its like a log and transfer, batch encoder, rough edit assemble tool rolled into one. I find it very nice. Just as a transcoder alone – its heavily optomised for hyper-threading. its very fast. And it certifies the batch encode at the end, which I find a really nice touch.
And I’m finally starting to do proper study on premiere. It has a very good, highly responsive timeline. very little chrome, highly highly responsive.
PPro6 cuts avchd on a 2008 macpro witha crappy radeon card without a problem – so thats camera native editing, on four year old hardware.Total lack of drop shadows, GUI dissolves, clips moving around each other like poltergeists. just highly, highly responsive. Its a very good editing system. The only complaint I have on the timeline is that the trim tools are a tiny bit in your face – very red, and very yellow, maybe a fraction large. but thats serious nit picking.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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yes. I have, on the very odd occasion, been the editor in the big suite with the plasma screen – the one thing you are overwhelmingly aware of is the need to make a good connection with the client – once they trust you, feel like you are properly taking in their concerns, and the earlier the better – once you get to that point you could be banging two salamis together to make the edit for all they care.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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hey craig, are you still going ahead with that london based post facility based around FCPX you mentioned a while back?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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not tooting my own horn or anything – but I actually called that three months ago.
https://forums.creativecow.net/readpost/335/35659
BOOM. ok I am tooting my horn. my sources have sources.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Bill Davis] “I don’t read much about production outside the US. But what I used to think of as something pretty much centered in Hollywood, NYC, London, and Mumbai – is now pretty diffused across the planet. Big change over a single generation.”
no.
wrong.
how many fingers am i holding in front of you davies? truffaut, eisenstein kurosawa, reifenstahl (yes her) and god knows how many others . film has been everywhere for ever.
[Bill Davis] “I wouldn’t be surprised if it becomes a little bit like the Beatles cultural revolution in the US. Not as powerful nor long lasting, certainly, but a bit of a cultural invasion none the less. Beatles to Graceland to K-Pop. Niche cultures that are less niche the more they succeed in media – but today we don’t need George Martin or Paul Simon as the enabler. We’ve got YouTube.”
mental point and utterly meaningless. horribly, horribly meaningless. who needed george martin? who ever thought thought that things happened by the grace of god with the right people coming together? was martin’s relationship with the beatles something to be superceded by a h264 stream?
but yes, of course, we have youtube and FCPX – an editing system, I might remind you, that no one asked for, represents no advance, that I idiotically paid for, and that no one is using.
I boot it up every couple of days Bill, I try to get some semblance of mojo pushing stuff I shoot on my own time with it with a favourite track, but it is a horrible editing system bill.
there are no revelations, there is nothing to be discovered, it is simply a stupid, badly formed, unresponsive, drop shadow, chrome heavy, piece of stupid glitz that we need to forget about. all of us. there is nothing to figure out in FCPX, there is no insight it presents on its secondary storyline bull that I do not want to forget. immediately.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Bill Davis] “Problem with that?”
in the ancient history of the internet, and where you regularly reside bill – “problem?”
https://weknowmemes.com/wp-content/uploads/2011/05/trollface-problem.jpg
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