Andrew Kimery
Forum Replies Created
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Call me Mr. Negative but I don’t think it will affect much more change than NIN & Radiohead experimenting with pay-what-you-want album releases, Louis C.K. making a couple million streaming one of his comedy specials or Tim Schafer raising over $3 mil on Kickstarter for his next video game.
Old Media success + rabid, installed fan base = crowd source windfall is not formula most people have access to. NIN & Radiohead both have not so found memories of their pay-what-you-want experiment and Trent Reznor has teamed up with Columbia Records for his latest music endeavor. The grass on new media side of the fence is getting greener but I don’t think it’s as green as the hype makes it seem (at least not yet).
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I’ve heard some people say you should use the same drive manufacturer and others say it doesn’t matter as long as all the specs match.
Personally, I mix manufacturers for just the reason you brought up Eddie and I’ve made over 100 mirrored pairs this way w/o an issue. A few years ago Seagate had a firmware problem with a batch of its drives and of course some of the drives I were from that batch. Thankfully I’d mixed manufacturers so only one drive in the backup pair was compromised. I cloned the ‘good’ drives onto other drives (so I was back to two safe copies) then I ran the utility Seagate released to fix the firmware problem and all was good in the world again.
-Andrew
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[Bob Woodhead] “I’m fairly unconcerned about whether it’s dead or not, but damned glad I don’t have to use it!”
Tape or tapeless, I prefer recording devices that can accept external sync and have decent onboard audio recording abilities. Multicam field shoots with GoPros, DSLRs and dual system audio recording are things of the devil. I’ve done a surprising amount of work on productions that still use tape because, well, it meets their needs and they have production pipelines that function like well oiled machines.
XDCAM discs are probably still my favorite medium as I think you get the best of both the tape and the tapeless words of course once off the shelf cards get cheap enough they’ll be used as shoot-once media too.
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Isn’t it common in photography for the photographer to retain ownership of the negatives the client to just get the prints?
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Connections are a very good point, August. In my heading I was thinking Brittany should work narratives on the East coast in the interm as I’m not sure what the timeframe is for getting out to LA.
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A downside to capturing HDV as ProRes is that it gives you 1440×1080 files 1920×1080 files and I’ve found that having non-full raster HD ProRes files can lead to unpredictable results (errors, crashes, etc.,) when exporting and going to/from Color.
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Just going to chime in here quick with the difference between backup and redundancy. RAID 1 provides redundancy against hardware disk failure in order to minimize down time. It does *not* provide a backup of your files. If you delete a file from a RAID 1 setup that file is gone from all drives. If a file goes corrupt it is corrupt on all drives. If your setup gets fried from a power surge or lightening strike everything plugged in/hooked up will get hit.
Now, you could use a RAID 1 as a backup if it was an external unit and only plugged in/hooked up when an actual file backup was happening. Better yet it would be store in a different geographical location (so a fire at a single location couldn’t destroy both your orignal and your backups).
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[Brittany DeLillo] “Are there still instances of apprenticeship? If so, where are those opportunities? Which major studios or post houses have that wealth of work? Is it more feasible to be a freelancer, seeking out gigs as they come? How do I get to be that assistant editor buried in the credits? It’s clearly not as simple as pulling up the ten best shops and working my way down the list. Does that kind of list even exist? Is my dream of an LA full of post houses with a roster of talented senior editors antiquated?”
Apprenticeships don’t really exist anymore, the vast majority of positions out here are freelance, assistant editing is turning into a career path all its own (not just a stepping stone towards the chair) and, yes, I’d say your concept of a post house full of staff editors cutting big budget features is off the mark. 🙂
There’s always more than one way to skin a cat so you could keep working in Boston, since you are already established there, and try to get some side work cutting indie features in NY or NC. You’d probably have to start off on no/low budget things so your agency work would still be paying the bills. After you get a number of features under your belt (and some money saved up too) you could move to LA where, again, your could rely on ad work to pay the bills until you started consistently getting enough paid feature work.
The reason I mention staying on the east coast for a bit is there is probably less competition than in LA. Out here I’d say 95% of the people dream of working in features so you can’t swing a dead cat w/o hitting someone willing to work 6 months for no money just to get experience they hope will pay off down the road. If you are single and are willing to make lifestyle changes then rolling with the punches is easier but if you have a family and/or are used to living at a certain standard then the inherent financial risks are certainly more daunting.
Everyone creates their own path but, realistically, I’d carve out at least a 10yr plan or so to get a solid foot in the door of studio features in LA. Many times too it seems like an editor’s ‘big break’ is when a director they’ve worked with gets a shot at a feature and the director is able to bring the editor onto the project.
Regardless of the odds I always say go for it because you only live once. I’d rather chase my dreams and go down in a ball of flames than wonder ‘what if?’ for my whole life.
-Andrew
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Have you rendered them? Are the settings in the RT menu set to high? Keep in mind that DV compression is brutal, 720×480 is low res for still images (it’s basically to the worst possible quality setting on digital stills cameras) and if you are looking at it in FCP’s Canvas window you are only seeing every other line of the image (unless you have the Canvas set to 100%).
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Avid has Interplay Sphere and a couple of years ago showed a live demo of remote editing at NAB where they were editing footage on servers in VA using a web-based app on a laptop. One goal of the project was to allow any web-enabled device (laptop, desktop, tablet… not sure about phone) to use a Java app to edit remotely (so no need for an MC install). I haven’t heard anything about it since which is a shame because it looked like the type of jump start Avid could really use.
Online video game services like OnLive and Gaikai (now owned by Sony) have shown that with fast consumer-grade internet connections you can basically remote in and play games located on their servers with minimal lag so an editing app should be sufficiently responsive. The elephant in the room is of course where does the media live, what kind of hardware does it need to reside on and what kind of bandwidth does it need in order to run smoothly. Not to mention who’s the IT guy that gets the 5am call when the server in LA goes down and the people in NY are sitting on their thumbs. 😉
For first party hardware and multi-user experience Avid obviously has the advantage but whether or not they can compete with off-the-shelf solutions is a big question. Apple has an ecosystem advantage but the walled garden may keep more people out than in and Apple seems skittish to go too deep down the post production rabbit hole. Adobe has an advantage with it’s CS bundle and could be first to market with an solution for the masses (well, post production masses) but I’m skeptical about what it will take to ‘live stream’ ProRes HQ or similarly sized files.
-Andrew