Andrew Kimery
Forum Replies Created
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[Bill Davis] “But that’s precisely the issue.
If you follow this thinking, you’ll be looking for traditional “slots” to fit your new knowledge pegs into.”
I’m not sure how you did it but you completely misread my post. I said I think the best way to approach a new NLE is to pretend you’ve never used an NLE before so you don’t bring any baggage with you (which can impede the learning process). I also pointedly talked about accomplishing tasks because in the end we need to be able to accomplish the same tasks (edit multicam, export for approvals, send out for coloring, etc.,) even if the tools/features/methodology used is different.
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[Kevin Zimmerman] ” I can come at it from either a FCPX for Avid Editors angle, or a FCPX for FCP7 Editors angle.”
Can you come at it from a “I’ve never used an NLE angle”? I’m being serious, not snippy. When I learn a new NLE (or return to an NLE I haven’t used in years) I try to approach it as a blank slate that’s never used an NLE before. Once I’ve learned how the NLE wants to be used and the underlying philosophy, for lack of a better term, then I’ll venture into the realm of “Well, I used to do X in my other NLE, how can I accomplish the same task / is there a comparable feature in this NLE?”
With that being said, I haven’t ventured much beyond the superficial with FCP X because it doesn’t behove me to know it. If/when that changes I’ll reevaluate of course.
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I definitely agree that curation is a key factor which is why we won’t see the role of media ‘gatekeeper’ disappear. Who performs that role can certainly change but the need to thin the media glut herd is certainly there (YouTube alone gets 72 hours of new content uploaded every minute).
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It was only a matter of time before YouTube delved deeper into ‘premium content’ because Google is losing money hand over first on all the UGC (User Generate Content). Hulu does like 2% of the traffic YT does but Hulu is actually profitable because it deals only in content that attracts advertisers, that people are willing to sit through ads for and/or pay a subscription fee for. Views without monetization is just money down the drain and the more popular it is the more money it sucks out since with streaming, unlike broadcast, each view costs you additional resources.
For the better part of the last six years I worked in house at MTV as part of team that primarily created original online content for various MTV brands (Spike.com, GameTrailers.com, ComedyCentral.com, etc.,) so I’ve got a lot of first hand experience of trying to successfully monetize web content. I’m not going to declare myself and expert but certainly experienced. The monetary hurdles are still pretty big. For example, an ad buy for the web is still peanuts compared to even lower end cable because there is no scarcity when it comes to on demand media. On the viewer side, people hate pre-roll ads, won’t stick around for a post roll ad and baulk at paying a subscription. Too many people used to ‘free’ media w/o realizing that it was never free but just subsidized by the ‘old media’ they like to b*tch about. Well, old media can no longer afford to subsidize new media so people will start having to pay if they want the content to keep coming.
The money the top YT earners is certainly good, but they are mostly solo acts with little to no overhead. $100k for a crew of one is very nice money pretty much anywhere in the US. $100k for a crew of 4 most likely means everyone has a day job and a roommate.
Growing up my parents had subscriptions to multiple magazines and the local paper and I think we are headed back down that path with people having multiple media subscriptions (I’m sure many people already do). I think future contracts between content creators and providers will include language that lets the creators sell directly to the public too. For example, HBO selling HBO Go subscriptions to non-cable subscribers with the cable company getting a percentage.
For content distributors the world is certainly shifting but for content creators the ground is moving much less.
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‘Sup Aaron!
Have you tried trashing FCP preferences? If not, directions below:
https://support.apple.com/kb/TS1846Do you have anything running in the background (like anti-virus software) or is spotlight trying to index the drive?
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[Bill Davis] “I kinda think you’re going to be in a world of hurt trying to wrestle whatever seats there are away from the folks who’ve put their 6 months to a year into the software and know where all it’s bodies are burried.”
I doubt the majority of professionals that, on a daily basis, use programs like AE, Avid MC, FCP Classic, Photoshop, ProTools, Maya, C4D, Resolve, etc., got started with version 1. Why do you think FCPX will be different? Sure, if one’s job is to train others, create plugins/3rd party apps, consult with businesses about what to buy, provide tech support, etc., then getting in on the ground floor can certainly have advantages but I don’t see it translating the same way when it comes to end users. -
My answer now is the same as it’s been the past year or so. Once companies I want to work for start using FCPX I’ll learn FCPX. Until then it makes more sense for me sharpen my skills on Avid, AE or Resolve.
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I agree that there is a lot of new and improved features in FCP X when it comes to metadata. I agree that Walter might be right in that given the underpinnings of FCP X it may not be capable of the PIOP functionality that is in Classic. I agree people should still recommend the PIOP functionality be added because if someone at Apple could figure out how to do it (w/o breaking other things in the process) it would be a handy feature to have around.
The only thing I disagree with is when someone says a favorite in FCP X performs the same function only better.
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Raise your hand if you are old enough to remember spending hours at the library with stacks of books doing research for a school paper.
Keep your hand up if you remember photocopying important sections from books so you could easily reference them later.
Keep your hand up if you remember how a book you were just reading would close automatically once you started reading a different book.
Wait, where did all the hands go?
Making a favorite is not the same thing as leaving I/O points set until the user explicitly removes them.
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Craig,
I certainly agree that many things are changing and new areas of video production are rapidly growing (though when you start from zero it’s very easy to show year over year growth 😉 ). For instance, I think we are entering a new age of corporate video where companies can talk directly to customers or other businesses like never before. A trend now seems to be companies making pseudo-documentaries about themselves or their brand and ‘airing’ them the company’s official YouTube channel. So, they’ll still work with ad agencies and buy airtime for their 30sec spots but there is a flexibility in corporate communication now that wasn’t really there 5-10yrs ago.
I spent the better part of the last six years editing (among other duties) in house at MTV producing mainly original web content for a variety of MTV properties (Gametrailers.com, Spike.com, ComedyCentral.com etc.,) so I feel like I have a good idea of the highs and lows of trying to produce ‘broadcast quality’ content for the web in a sustainable and profitable fashion. While it’s impressive, and something new, to see YouTube stars making 70 or 100 grand a year they are usually solo talents with little to no overhead which is a business model that doesn’t translate into the kind of work I do (and I imagine it doesn’t translate well into the kind of work the vast majority of people in video/film/tv production do).
There are certainly more options today than ever before but how many of those options are sustainable from a business stand point (at least currently)? I think there will always be outliers and one-off success stories, but for the most part I don’t think the fundamental way the vast majority of our motion picture entertainment is made will change very much. Today content creators bang on the doors of CBS or HBO to get their projects made and tomorrow they may be banging on the doors of Netflix or Hulu but the act of a content creator that has an idea but little else looking for a ‘benefactor’ that has money and/or distribution won’t change a whole heck of a lot, IMO.