Andrew Kimery
Forum Replies Created
-
[Simon Ubsdell] “I’ve been using the AVID Artist Color with Resolve for quite a while now, and I’d certainly second your point about the difference a panel (even a lower-end one) makes to the speed and accuracy of the process.”
A friend of mine used the Artist Color and really likes it. I was keeping an eye on Ebay and Craigslist for a gently used one (they’d usually go for $1000-1100) as at the time that was the cheapest point of entry (even if a bit overkill for my needs), but I never found one (and ultimately ended up with a Ripple).
-
[Scott Witthaus] “I got an interesting debrief from a colleague who just returned from SXSW. In one of the Adobe talks, the company spokesperson confirmed what I have been thinking in that the CC has gotten so huge, Adobe knows it needs to focus more on consistency of product performance and of UI across products”
That is one of my gripes with Adobe is that sometimes new features will come out and they are seemingly never revisited again even though they could use some tweaks. I think MorphCut is an example of that. Or if MorphCut has been updated that leads me to another gripe is that Adobe will improve something but not tell anyone. For example, when Search Bins first came out (2014 I think) it was okay, but definitely felt more like a proof of concept than a full blown feature. But in 2015 they made a ton of improvements to it… and told no one (it wasn’t in any feature list that I saw from Adobe). On a lark I toyed with the Search Bins in 2015 and discovered that they’d addressed almost all the shortcomings I thought were in the 2014 version.
The lack of documentation/manuals from Adobe is also maddening as hell.
With regards to UI consistency across products, on one hand I think there could be a bit more homogeny, but on the other hand PPro, PS, AE, AI, etc., should all stay focused doing the best they can for their core demographics, even if that means a PPro users doesn’t instantly feel ‘at home’ when they open up AE or PS. Creating ‘one UI to serve them all’ will just mean everyone is unhappy.
-
[Oliver Peters] “I’ve been testing the Mini panel for an upcoming review. It’s love at first sight. ☺ But, you really have to do a lot of Resolve work to justify it. “
Yeah, the Mini would be if I go back to being a colorist first and an editor second. I used the JL Cooper panels with Apple Color and once you get used to using a panel it’s really frustrating to grade w/o them.
-
[Tim Wilson] ” They’re too easy to miss when they’re buried in menus, but when they’re right at the tips of your fingers? Magic. “
100% agree with that. Everything is so much faster with a control panel once you get it down. My analogy has always been playing a piano with your hands on the keys vs playing a piano on your computer screen with a mouse.
[Tim Wilson] “I really do hope you get to take one for a spin. I think you won’t have any problems finding new excuses to use it. ????”
Sight unseen obviously, but the only thing really making me hesitate is that it’s not cross-platform and there is a surprising amount you can do in Adobe’s Lumetri panel. The vender lock-in really grinds my gears, but, like I said, if I go back to doing a lot more Resolve work I’ll make the investment because it’ll be worth it (even though I’ll end up with two panels).
-
[Gabe Strong] “Wow, not sure how I missed that one! $350 for a panel, I didn’t know you could get one
that cheap! I will say, I use a Mac computer so I obviously will pay money for some things ☺
When I bought it, in 2009, I’m sure it was more expensive than a PC. Course I’m still using
it so maybe the ‘Apple Tax’ was worth it after all.”The Ripple is really only balls, rings and reset buttons so it doesn’t really compare to the Micro in terms of features, but it is only $350 vs $995. For someone spending a lot of time coloring in Resolve the Micro is probably the better value. I mostly do quick grades these days so I grabbed the Ripple a while back. If I ever go back to being more of a colorist (as opposed to an editor that can color) then I’ll probably upgrade to the Mini (assuming I go w/BM’s panels).
-
[Bill Davis] “Basically, even if they NEVER DEMAND ANYTHING from you – it’s just a straight up BAD DEAL when you get nothing but the opportunity to stay where you are and not have to change too much from how you learned to edit a few decades ago. “
I’m looking a list of credits I’m proud of, a nice annual income, and wondering where this “bad deal” you are talking about resides (and as I’ve mentioned before, due to the nature of my work I don’t worry about amassing a virtual closet full of old projects). Maybe for you personally you think it’s a bad deal, or for people in a similar situation as yourself you think it’s a bad deal, but calling it a “straight up bad deal” is an inaccurate overgeneralization.
What people have is the opportunity to make a living using a number of products and if they can make a better living using one NLE over another how is that a bad deal? For example, X job opportunities in my neck of the woods are almost like hen’s teeth yet you can’t swing a dead cat without hitting PPro gigs. I’ve literally (and I mean literally, not figuratively) seen more job postings in my area for Mandarin/English bilingual editors than I have for editors knowing how to use X. How is having more opportunities to work on gigs I’m excited about *and* having opportunities to make a good living a bad deal?
Do I wish Adobe did somethings different? Sure, but I’m not about to cut of my nose to spite my face. Ideological stubbornness doesn’t pay the rent or change the fact that X is just flat out not popular in my area compared to Avid and PPro. Maybe that’ll change significantly in the future, maybe not. Either way, I don’t really care because I’m cool editing on whatever makes the most sense at the time (workflow-wise, money-wise, personal preference-wise, etc.,). I’ve got X, Avid, PPro, Resolve (and yes, still FCP7) installed so my bases are covered. I’m a pragmatic dude that edits, not a product evangelist.
-
[Bill Davis] “I make small, shitty corporate videos. Yet I STILL remember how pissed I was decades ago when I saw somebody at NAB in a discussion I witnessed, claiming that a piece of work I had created – was THEIR work, not mine.”
You mean another production company took credit for your work, or the client you did the work for referred to it as ‘theirs’ w/o specifying that you were the vender that actually did the work? The former would piss me off too, but the latter, while maybe rude if you are standing right there and the client doesn’t credit you, is what it is.
-
While it covers more than just editing, I would have to add “Droidmaker: George Lucas And the Digital Revolution” to the ‘must read’ list. Amazing book about a pretty small group of guys that fathered everything from digital VFX to NLEs to 3D animation.
https://www.amazon.com/Droidmaker-George-Lucas-Digital-Revolution/dp/0937404675
-
I don’t think electricity is a subscription though (at least not in the US), it’s meter-based billing. Subscriptions we all probably use on a daily basis would be for cell phones, wired Internet, etc.,.
-
[Gabe Strong] “Yeah, they are doing some great stuff. That $995 panel is going to get them
a whole new crop of people jumping into color correction, in a ‘test out the waters’
manner. “For a self-professed cheapskate I’m surprised to hear you say that $1000 falls into the ‘just testing the water’ category. ????
Especially for a narrowly focused piece of hardware the only drives one application (which was most likely downloaded for free by the majority of the user base). I think a ‘test the waters’ panel is more like the Ripple at $350. To me BM’s new panels are going after people that already color on a regular basis and are looking to up their game. It’s a shame that they only work with Resolve though.