Aindreas Gallagher
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you king – that is a classic. In the spirit of sharing I give you:
https://www.youtube.com/watch?v=_BZsIY6PUPU
It’s made out of cookies. incidentally – the EU parliament voted the Biscoff Cookie advert best advertisement created over the course of the last two centuries.
It quite obviously is.
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I just watched it – oh my god that was fantastic. that really was the ticket.
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[Mark Raudonis] “Topping off a genny in the middle of the night is one thing,”
well now come on – to be clear he was managing a total accumulated volume of 250 TB of stereoscopic RED, and yes, archiving and transcoding in a tent off a genny in the serengeti many’s the time – the team was also provisioning dailies CC with assimilate scratch on location and they also managed an exceedingly complicated post workflow where post conversion was occasionally required, in a scenario where the edit was still fluid so you had shots turning back on themselves requiring updated top and tail frames going to post conversion houses in the states while keeping the chain with technicolour for grading intact.
a tad more than topping up a gennie mark – he just… didn’t feel a burning urge to crack out the batman begins soundtrack and start doing moses voice talent VO on his DIT workflow….
but well, you know, each to his own.
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right yes – lets say though, that I recently had a lengthy meal and beer session with the person who oversaw DIT for the latest BBC nature series – in his case he was say, archiving red off a diesel generator that he had to keep topping up at three AM in Nairobi and then getting up at seven to prepare the rushes for review by the director and DOP on assimilate scratch. he did this off and on for 18 months across africa in all conditions – his team then oversaw the post production pipeline – which was extensive.
So that I found impressive into terms of sheer stamina and overcoming extremely challenging work environments.This Cioni guy is doing the same thing, only he’s walking a hundred yards to an air conditioned trailer to get some red cards duped and archived. then they do some temp looks, then they transcode it a bunch of different ways. When you boil it right down his job is to dupe and archive the shoot material six different ways from tuesday, and then transcode it a couple of different ways, with one hundred percent reliability – I’m not saying its easy, but he makes it sound like he is inventing quantum gravity – and he’s not. he’s running a DIT service. Whoop de doo. I mean fine, I’m sure he makes a great DIT – but as the person I was talking to pointed out – if you have ambition, being a DIT is a kind of a completely frustrating gig – you’re incredibly close to people making critical, incredibly interesting artistic calls at the top of their game, but you are playing absolutely no part in it.
Michael Cioni appears to believe he is reshaping the universe by being a DIT – and well, good luck to him. He really needs to ease off on the batman begins style scoring though, because it makes him sound ridiculous.
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steve, when you say the new imovie is fast there below – do you mean in operation – that its more responsive? Because even on decent hardware – I’ve found that a bit of a bug bear with X. I do personally find the timeline more sluggish than I’d like in click drag operations.
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not bad davis, not bad. you had me lilting along to that notion.
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interesting point Andy – what is your own experience? Are you freelance? Where do you work?
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[Andy Branner] “I needs me some!!”
I don’t think so realistically – where do you work by the way? are you freelance?
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[Simon Ubsdell] “Please don’t tell me editing is only about this:”
come on – that is an ocean wide bullseye – not to be mean but you do cut trailers right? – I’ve cut say well paid BTS for a car launch from TAG where lots of people say similar or vaguely conflicting things for a commercial or message driven purpose and you need to pull out meaning – with all due respect Simon – we are neither of us currently clawing at society.
seriously – I would direct your recalcitrant attention again simply towards that zingy timelapse – it’s this one simon:
I just rather like the look of that flow. Simon. Yeah, you. You in the hat. Simon.
(So…. if it might make it feel better, let’s maybe just consider that a timelapse process from an un-aired nineteen seventies ken loach movie trailer cutting session no?)
that’s right. claws out. boom.
FCP8 = V7.
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well so fiiine – granted you, you know, actually know what you are talking about – there are colour wheels tho right? amirite?
Because I know, er, AE, colour finesse, magic bullet and colorista – and I haven’t exactly learnt the third one – although the tutorials available – why haven’t I learnt colorista?
sheriously – why is SG so bad – does it all have to be nodal? i know its got a non-standard lift thing for the black base stuff but are there really cardinal sins?
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