Andrew Kimery
Forum Replies Created
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[Charlie Austin] “That just leaves the slates, gfx, and picture to not screw up. ;-)”
One down, three to go. 😉
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[Jon Doughtie] “Hi Andrew – yes, that is my understanding regarding Fair Use and DRM. The precedent goes back to Disney vs. Betamax. Otherwise, none of us would be timeshifting much programming, and I am doing it almost daily, as are many other folks.”
Not to get too tangental in this thread, but Fair Use is not related to space shifting (ripping a CD and putting the music on your compute or MP3 player) or time shifting (recording something for later viewing). Space shifting and time shifting are related in that in both instances the courts ruled (the Betmax case in the 80’s and the Diamond Rio case in the 90’s) that people had the right to do those things for private use where as Fair Use is a specific portion of copyright law outlining a very limited set of circumstances where someone might be able to use copyrighted works for news, academic and/or analysis/criticism w/o needing to get permission from the copyright holder.
Getting back to DRM/copy protection… even though the courts ruled people could do it there was nothing to say that companies couldn’t use copy protection to prevent people from doing it. That’s the sole purpose of copy protection is it not? The wrinkle that the DMCA added was making it illegal to defeat DRM. So, for example, even though court precedent gives people in the US the right to rip a DVD or Blu-ray to a personal computer for private viewing the DMCA makes it illegal to circumvent the DRM and the presence of the DRM makes it impossible to copy the media onto a computer. The DMCA is basically media companies successfully doing an end run around the Betamax case and the Diamond Rio case. In the mid 2000’s a US court found that DVD ripping software was illegal and that pretty much signaled that the DMCA trumps the individual’s right toe space/time shift media.
The only exception I know if is a few years ago the US Copyright Office granted an exemption to documentary filmmakers which means documentary filmmakers can legally circumvent the DRM on a DVD (not sure about Blu-ray) in order to capture the footage off the disc.
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[Jon Doughtie] ” In the US, DRM may not interfere with protected Fair Use, for example, and that includes recording for timeshifting.”
Are you sure that’s the case Jon? For example, the DMCA specifically prevents people from defeating/circumventing DRM even though DRM prevents people from doing legal things such as space/time shifting media.
More on topic, I have not heard of applying DRM to ProRes and while it may be possible, to Jon’s point any DRM can be broken so the client should be prepared for that. And possibly be prepared for angry emails if the DRM some how conflicts with the system the South American broadcaster uses.
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[Shawn Miller] “Absolutely! I’ve been using Audition since it was Cool Edit Pro v1. I rarely complete a project without touching Audition at some point. :-)”
Since you guys keep talking about Audition, how does its audio repair tools compare to something like iZotope’s RX 5Audio Editor?
-Andrew
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[Charlie Austin] “I checked out that pdf. I’ll mess with it when I can, but on first blush it’s, like anything MC, convoluted. Nice feature though…”
I used it a little bit a year or so ago (just to make a simple split audio preset for a composer) and It’s pretty straightforward to use. I just never did anything extensive with it and the example you gave with X seems like the type of problem Avid was trying to address with this particular tool.
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[Charlie Austin] “Was nice to use just one timeline – and never need to touch it – when outputting all the versions.”
Yeah, I don’t do much timeline versioning like that on my usual gigs but when I do I’m always worried I’ll accidentally mix up the wrong slate and audio or something like that even though I triple check it all.
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Certainly a good example highlighting the flexibility of Roles.
If you have a Avid MC 8.1 or newer I’d be curious to see what you think of their Multiple Mix tool. It’s basically a tool that allows you to map any of the 24 audio tracks up to 24 audio outputs and save each configuration.
A description starts on page 12 of the PDF below:
https://resources.avid.com/SupportFiles/attach/WhatsNew_MediaComposer_v8.1.pdf -
On Twitter I’ve seen some people say the update fixes some problems with PPro but I haven’t heard anything from Adobe.
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[Bill Davis] “ALERT: This is a quip. Not an argument.”
I’ll meet you half way and say it’s an argue-quip. quip-grument?
[Bill Davis] “BTW, in the spirit of raprochment – I’m flying in for the FCP X thing at Able Cinema in LA on Saturday specifically to see my LA friends – will you be there? First round’s on me afterwards if you are.”
Unfortunately it’s a working weekend for me otherwise I would be there.
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[Bill Davis] “I found the argument silly”
I too find it silly that you are arguing that Filemaker and using cards on a board are inefficient, antiquated and/or outdated options yet here we are, complete with straw man arguments like the one below.
[Bill Davis] “Be kinda tough to get a 4 X 8 piece of foamcore storyboard in there!”
[Bill Davis] “I just don’t mistake that because it serves my needs in one setting – that’s the only viable way to approach Every edit every time.
“Let me know the next time you do a comparative analysis of various NLEs. 😉