Andrew Kimery
Forum Replies Created
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1. Supernatural isn’t just for girls, Bill. ???? All previous seasons are on Netflix so if you are needing a show to check out I strongly recommend it. First couple of seasons are monster-of-the-week/episodic, but later seasons are more serialized (though still with stand alone episodes mixed in).
2. Somewhere (either here, on FB or on my blog) I wrote a post a while back about this being the gilded age of corporate video because barriers to entry in terms of production cost and distribution options have simply evaporated over the last 10-15yrs. You can certainly get ‘broadcast quality’ on non-broadcast productions. For example, on two of the YouTube live streaming shows I’ve worked on in the past year (one was a talk show format and the other was live coverage of E3) we used the same crews, cameras, control rooms/trucks that you’d use on a broadcast production even though we were destined for YouTube. Of course now that I think about it we did similar things when I worked at GameTrailers 2009 (2010?).
3. I think calling this live, choreographed event a ‘corporate video’ and comparing it to watching a movie or TV show is a bit apples to oranges. Comparing it to other live, choreographed events (concerts, award shows, Super Bowl halftime show, theme park shows, Grease: Live on FOX, etc.,) seems more appropriate.
[Walter Soyka] “Resolution matters a lot to us. 4K or 8K may not matter on a 70″ display in your living room…”
For final distribution I agree, though for production and post shooting in an higher res than the final distribution format can of course have multiple benefits. On a related note, the new movie “6 Below” which was shot, cut, and finished in 6k for the Barco Escape format (basically three movie screens in a wrap-around format w/11.1 sound) is coming out on Friday. A look at the workflow can be found here, https://vashivisuals.com/6-below-editing-in-6k/
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[Bill Davis] “There’s a place where Tom is into his edit and he’s directly cycling through PERFORMANCE options via Auditions – and because he has those as Synced Multiclip options – HEs able to instantly look at alternate takes while maintaining perfect primary storyline music timing.”
Are you talking about what Tom’s doing between 7:30-8:00? I didn’t hear him talk about using Auditions. Maybe I missed it? I thought he was just cycling through the multicam clip he made of all the various performance takes. Given how Tom puts all the performance clips into a multicam clip it seems like using Auditions would be unnecessary/redundant, wouldn’t it?
To me the power of Auditions is that, in conjunction with the magnetic timeline, you can audition takes that are of varying lengths and the timeline will inherently expand/contract accordingly (maybe the actor delivers the line faster in Take 1, but slower in Take 2). But with a music video the duration of the take never changes because everyone is singing/playing along to a prerecorded track so even if they shoot 10 different versions of the chorus they will all be exactly the same length.
Music videos are pretty unique beasts in terms of workflow so maybe they aren’t the best for generalized examples of some of X’s tools?
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I agree that there are certainly signs that point to Apple adding more collaborative elements to X, and I also agree that we just have to wait and see what Apple does.
I guess life would be pretty boring if we knew all the answers. 😉
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[Oliver Peters] “Apple. For many, it started when they EOL’ed Xsan RAID, Xserve, Xsan and Final Cut Server. At that time Apple also closed its enterprise sales and support units, turning that function over to resellers”
I can’t re-iterate enough how many times this gets glossed over in the ‘story of X’. For many people X was the final straw after years of growing frustration with Apple, not a knee jerk reaction to the first shot across the bow (pardon the mixed metaphors).
For example, I was working for a company that had spent around seven figures on enterprise level shared storage from Apple, had dozens of cMPs and iMacs running FCP Legend, and was in the process of creating a very custom version of Final Cut Server to act as the end all and be all MAM that would finally unify the massive West Coast and East Coast video libraries… Needless to say it was a rough few years for the tech team. I think the company is still Mac-based, but they’ve long since moved on from Apple storage and they cut with PPro.
Of course I still regularly run into people that complain about circa-2005 Avid and refuse to use MC because of it so it’s not like holding a grudge is NLE-specific.
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[greg janza] “Without a doubt there would’ve been no resurgence by Adobe…”
I’ll go one step further and say no resurgence by Adobe, no disruption in the market to give Avid some breathing room and no realistic room for another potential entrant like Resolve.
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[Neil Goodman] “That said I just took a staff gig using ppro full time so I have to dive in head first and I have and its getting better, and growing on me.”
As with anything new give it time. A buddy of mine was a die-hard FCP users but when the company he worked at finally when all PPro a couple of years ago I would get angry texts from him at least once a day saying how horrible PPro was (by this point I’d already been using PPro a couple of years). After about a month the texts stopped and now he really likes PPro. lol
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With the goal of simplifying processes, do you think Resolve is the best poised to win in that regard (assuming enough editors will want to cut with it and enough mixers will want to use Fairlight)? Michael Gissing is usually the one championing this point, but he hasn’t made it into this thread yet so I figured someone should go ahead and mention it. 😉
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[Charlie Austin] “That “hollywood” needs validation from from “big names” before they’ll try something new”
As the saying goes, “No one ever got fired for buying IBM”. ????
Hollywood needing validation is just a symptom of humans generally being risk averse by nature. If one is happy and productive with what one already has, what’s the motivation for tossing that aside? Especially if hundreds of millions of dollars on the line? The more that’s at stake, and the more people that have to sign off on changes, the longer it’s going to take to make changes. I don’t care what part of the industry you are in, but if you need to convince someone else that the existing, functioning workflow needs to be nuked it’s a much easier sell if you have relevant, real world case studies to hold up as examples of how the new workflow is demonstrably better, faster, cheaper and more robust than the existing workflow.
Of course as was brought up in the article, if there isn’t a decent labor pool for the new workflow than there is very little incentive for businesses to adopt it. This chicken/egg scenario is usually solved by the tool maker spending money to ‘prime the pump’ and help create demand for their product via PR/Marketing.
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[Steve Connor] “Or perhaps Apple are like me and don’t care in the slightest whether the tiny fraction of Editors who are “Hollywood A Listers” or “key influencers” use it.”
Apple’s In Action page tells a different story. ????
https://www.apple.com/final-cut-pro/in-action/
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[Charlie Austin] “Me too. ☺ And, at least for audio, FCP X is leaps and bounds simpler, easier and faster than the others. Nothing else comes close.”
I think you’ve done some videos (or at least blogged) about how well Roles handles that, right?
[Charlie Austin] “I mean, anyone who’s using *any* NLE professionally should know what’s required to have it do it’s thing right?”
Ehhhh…. In my experience most people tend to learn the least amount to technical knowledge they need in order to get their job done. I mean, on a somewhat regular basis I still run into editors online that don’t know that PPro has sync-by-waveform built into it. Someone showed them how to use PluralEyes in 2010 so that’s what they know how to do even though they’ve been able to do the same thing inside PPro for over half a decade.
I’ve worked with some insanely talented editors that have no clue how to prep footage, get it into their NLE, export a cut w/TC, etc., but they don’t get paid to know those things, they get paid to be awesome editors on high profile, high pressure gigs.
[Charlie Austin] ” And no matter what you’re using, at this level everyone hires a “workflow specialist” aka: Really Good AE. ;-)”
If everyone who’s using any NLE professional knows what’s required to have it do it’s thing workflow specialists wouldn’t be required because everyone should already know the best workflow, right? ????
I’ve come into multiple situations where I’ve helped improve workflows because the established ones were either out of date (in that helpful new updates and/or new apps exist that didn’t exist when the workflow was created) or they are just not as tweaked as they could be. Experimenting with new workflows involves time (which is money), energy, and risk (what if I blow a bunch of time and energy on a dead-end idea) which is why ‘if it ain’t broke, don’t fix it’ will always be a viable option.
Thankfully thanks to social media I think it’s much easier to share little tips and tricks than ever before.