Bob Bonniol
Forum Replies Created
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Some selective answers from somebody who uses both platforms…
It’s actually possible to output to the ProRes codecs from a P-Pro edit, if the Adobe install is on the same machine as the FCS install. It’s just a question of whether the ProRes QT component is installed, which happens when FCS get’s installed.
Dragging audio works roughly the same. Perhaps you had to unlink the audio from video ? For me, I never notice any difference in that behaviour (I use both PPro and FCP with regularity depending on client demands)
I use MOSTLY P-Pro. I vary back into FCP only if I’m working on a job where there are significant client assets that already include FCP projects, or where I am involved in a project with multiple editors where the pipeline has been pre-ordained as FCS. I am a heavy user of motion graphics and compositing, and I find the cross functionality between the Adobe apps to be a complete joy. Bouncing back and forth between AE and PP is seemless and awesome. PP’s already existing 64bit performance is breathtaking. And the learning curve moving between the apps was almost nil, given that you can map your keyboard in PP to use the FCP map. Dive in, I think you’ll like it…
Bob Bonniol
MODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
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GIANT fan of yours Chris. Alice for iPad is awesome…
Having made the shift to an all Adobe based workflow sometime ago, this whole scenario has been interesting to watch at an admitted distance. I tend to agree with your modularity opinion. I relate to the workflow pain being expressed here as well…
Hell, who likes to be a practitioner who finds there main tool a completely different thing when they pull it out of the box ? Bound to be uncomfortable, if not downright infuriating/frustrating.
I’ll say this: We are in a time of incredibly rapid change. Tools, workflows, delivery methods, market places, demographics, EVERYTHING shifting on a second by second basis. In my bread and butter business, large scale concert video, the display technology, processing, and serving changes every 6 months. The stuff I used 18 months ago has departed for the dust bin, or has been appropriated by DIY culture and repurposed into something unexpected. The only thing I can do is consciously set aside my own bandwidth to keep up, and to adjust my pipeline and workflow. I know that’s not an analog for mainstream production. What a giant pain in the ass this is for many of you. Still, if I were a betting man, I think that the view of post production/editorial in 3 or 4 years will have FCP-X probably sitting in a very central position, maybe among all of us, maybe among a new generation of practitioner… Change happens. The universe is naturally entropic. Adapt or don’t. Whatever you decide to do, the world will proceed.
Have a great day everybody…
Bob Bonniol
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The onboard card in the MacBook Pro I’m working on is an INVIDIA GForce 330M…The content is a clip I created in After Effects which combines a still (PSD) of an old TV, with old footage from a Journey concert doc from 83 composited into it. That file was captured from a DVD originally, in MPEG4, but then I bounced it to QT uncompressed… All of the above rendered out of AE in PJPEG codec of QT. I did in fact replace the footage in PP when I re-rendered.
The truly puzzling thing is I had done maybe 8 or 10 test renders before the issue suddenly cropped up, and I hadn’t done any work in the project on that part of the sequence in a couple of days. Then the iterations with replacing the footage, etc. Naturally everything is now DONE and this is the last thing hanging me up prior to client approval.
Grrr.
Ah well… I’m chunking away at it here… Nice to see you around Tim !
MODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
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Yeah Mark, I tend to agree. My attorneys have advised much the same thing previously… (and by the way I love ya as always Grin )…
In this case, to add some info, it’s not ME with my ass in the wringer, but it is a good friend. I just flat out won’t use content in shows that the client can’t actually show me written proof of rights acquisition… I’ve learned my lesson. But my pal is in a tough situation, and reached out to me for an opinion. They’ve sampled some hugely prominent film and photographer/artists. And while this gig may not be particularly worth fighting about it, people involved with this gig, have way bigger gigs in the offing. So he’s not eager to be ‘difficult’. Sigh. Why does doing the right thing have to get you branded as ‘difficult’ ? Something to muse on later in buddhist practice perhaps.
MODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
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Oh man… Well… I’ve done a TON of business in China. It bears knowing that holding out on paying is actually regarded as a virtue among some business folks over there (no lie). I learned that to do business effectively there it was really beneficial to operate in a joint venture with somebody with experience on the mainland (say a Taiwanese production company, or a company from Hong Kong). They can serve as the bridge, and help ensure that business moves a little closer to the ‘western’ expectation.
You are post gig, so that is advice for the future. My advice for now is to use all the techniques you might find recommended here for any potential ‘grinder’. Steady, persistent pressure. Frequent check ins… Stay with it. And good luck.
I now demand (and get) full payment upfront before deliverables are in the clients hands. This was my policy for everything I did for the Olympic games, and numerous other projects over there.
MODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
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I LOVED the Pixel Vision. The cubistic artifacting was SOOO cool… Wish I still had it. Somebody should make a Pixel Vision App for iPhone4… hahahahaha
Greetings to a bunch of players I haven’t chatted with in a Looooong time.
Bob Bonniol
MODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
Live & Stage Event Forum Leader
HD Forum Leader -
With those margins I understand… My business operates fairly differently, in that we are creating content, but also providing ubiquitously talented individuals who know how to put giant stadium shows together; and then sometimes do big multi cam shoots of the same after we put them up. We operate on margins closer to 35%. So giving 8% back on the content line doesn’t really gut that at all. We don’t give it to everybody either. Most of our feet draggers are actually our largest institutional clients, where projects are pretty large, and we are able to stay on margin. Having that money totally up front, sans 8%, has worked well. The 3% to 5% for Net 30 on smaller stuff has also not affected our margins that significantly.
I can definitely understand how tightly produced project flow wouldn’t really work with this idea. Conversely, when you are sitting around at 90 days out, wondering if GIANT Client will ever pay, that upfront begins to look like it would have been pretty sweet…
Different strokes for different…uh… Margins…
Best,
Bob BonniolMODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
Live & Stage Event Forum Leader
HD Forum Leader -
Solution: I rebuilt the parts of the big tall res at under 4k, everything is fine. Dang is that a hassle though.
Wish I could convince AE it could do it… “I think I can, I think I can…”
Best,
Bob Bonniol
MODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
Live & Stage Event Forum Leader
HD Forum Leader -
Hard to say without knowing the particulars of your deal/contract language. But generally we all are operating on a “work for hire” basis that has our clients (usually) owning the final output. Bottom line in that case, is that the client can absolutely forbid you to show the work for demo purposes. We have a whole raft of clients who won’t allow us to post work on our website from their projects. Some will allow stills and descriptions, some will allow media with a big fat client logo watermark, and some will allow none at all. It’s up to them…
BTW it is certainly NOT industry standard to display client copyrighted work without permission. We always ask the clients. If they say no, then we don’t do it. How will you fair with the attorney ? Hmmmm. How big is your legal fund compared to your clients ? Maybe more importantly, how do you feel about affidavits/court records/documents etc that show you to be a target of litigation showing up on the web to anybody that googles your company name ? Perception is everything. A new client does some basic due diligence and finds you allowed things to get to the lawyer stage… Doesn’t look good.
Finally: Why alienate a client ? Not planning on doing any more work for them ?
Don’t do it. It’s almost NEVER worth it to let things get in the lawyers hands…
Best,
Bob BonniolMODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
Live & Stage Event Forum Leader
HD Forum Leader -
We actually have successfully used the opposite direction with some of our slow pays… Rather than framing it in a penalty semantic, we offer them a 2% discount on services for payment within net 30. If they pay up front we increase the discount to 8%… It’s really motivated some of our feet draggers…
Bob Bonniol
MODE Studios
http://www.modestudios.com
Contributing Editor, Live Design Magazine
Art of the Edit Forum Leader
Live & Stage Event Forum Leader
HD Forum Leader