Andrew Kimery
Forum Replies Created
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I’ve authored a few DVDs in El Cap w/o a problem, but when the end comes I’ll just keep an older boot drive around. Easy enough to keep multiple ones in a cMP.
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[Oliver Peters] ” Do you think this could be (or should be) handled via in-app purchases and upgrades?”
I think Apple is going to handle it the same way they always have, Apple Tax on the hardware required to run the software. 😉
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[Michael Gissing] “All modern software is in reality a beta form compared to what was normally referred to as release or beta when I was testing for various companies. The advent of public forums like Creative Cow has taken over from private beta feedback.”
I’ll add to this the ease of patching via the Internet. I remember around ’98 or so the gaming community really started complaining about PC game devs shipping titles too early and then releasing the first round of patches almost immediately. So obviously the bugs were known issues but the publisher didn’t want to push the launch date back in order to fix them before Gold Master. And these days it’s common for new consoles to require gigs worth of software updates on launch day before you can even pop a game in.
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The RT2500 was the only I/O device I bought that offered hardware acceleration. I switched to FCP in 2001 or 2002 and used a Dazzle DV Bridge for a few years and later bought a JVC DVS2U (MiniDV/VHS combo deck).
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[Bob Woodhead] “I am SO happy I get to choose which NLE I use. :D”
Oddly enough over the past 17yrs there’s only been two times I’ve been unhappy with the chosen NLE and both of those times I had a hand in choosing which NLE was used. ????
The first was when I was fresh out of college and built my own PC for editing based on Premiere and the Matrox RT2500. I had used MC in college (well, technically Media Express), had barely touched FCP 1.0, and never owned a Mac. I was already a ‘pc guy’ so going with Premiere seemed the best and most cost effective route. Little did I know that in LA at the time you either used MC (for budgeted projects) or FCP (for lo/no budget projects). No one took you seriously if you used Premiere (which at the time had a rep for only being good for weddings and corporate videos). Looking back, trying to find a way to afford a Mac and FCP would’ve been much more difficult, but it also would’ve been a better use of my money.
The second time was a few years ago when I worked on a documentary with another editor. Long story short, we were debating between PPro and MC. It had a lot of stills that would need to be manipulated so we were leaning towards PPro because Avid’s pretty kludgey in that regard, but we were only a very tight deadline and much more familiar with the ins and outs of Avid when turning over sound and picture to be finished out of house. In the end we went with the devil we knew (Avid), but in retrospect I think PPro would’ve been fine on the turnovers and it certainly would’ve been been a better cutting experience given all the stills we used. That project certainly leaned on PPro’s strengths more than it leaned on Avid’s strengths.
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Things that I thought were interesting about this:
1. The fact that the choreography created during pre pro was so tight and integral that they needed to develop a workflow like this in the first place.
2. The glowing remarks about MC’s AMA feature. Editors had been pleading with Avid for years to expand MC’s ingesting options yet the original version of AMA wasn’t very robust at all. Since you don’t get a second chance to make a first impression many people had basically written off the feature even though Avid was improving it. Maybe this story will get people to revisit it.
3. Need for someone to make a cool looking ‘editing cart’ so editors on set don’t look like they were just given a bunch of hand-me-down parts. 😉
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What are the specs of the cMP and MBP? IIRC eGPU is only going to be officially supported via ThB3. Barefeats has lots of good comparisons between different Macs. https://barefeats.com/
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[James Culbertson] “So, what I am trying to say is that how much you make isn’t dependent upon what NLE you know. But you should know the NLE that is required, and that may or may not vary from group to group, or region to region.”
Exactly my point. Sorry if I wasn’t clear enough in my previous posts.
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[James Culbertson] “Where is this place that pays you differently based on what editing tool you use?”
Two fold. First off, I typically freelance for unscripted TV shows, documentaries, in-house production wings of large companies, and other similar situations where the post workflow is pre-established so I need to go with the flow (which in LA is either MC or PPro these days). Pretty much no one in my neck of the woods uses X (I’ve seen more jobs for Cantonese speaking editors than for editors to work using X).
Secondly, larger productions with larger budgets almost always use MC. You don’t get paid more (or less) because of the NLE, you get paid more for working on a project with a bigger budget which most likely means you’ll be using MC.
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[Oliver Peters] “Seems relevant to this thread:
https://5thingsseries.com/the-truth-about-video-editing-software-in-hollywoo...
“Something I see come up often is how much a tool costs (this came up in the YouTube comments for Michael’s video) but what doesn’t seem to get brought up along side that is how much a tool earns. Is generating revenue so unimportant? ????
For example, with how little FCP X work there is in my neck of the woods the fact that it’s only $299 isn’t very relevant because I’d be very hard pressed to find work using X compared to Avid or PPro. On the flip side, the money from my very first Premiere Pro gig 3.5yrs ago could keep my subscription active until I’m around 110 (assuming no price changes).