Bob Zelin
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with all this talk of violence and revolution, does this mean that if Apple doesn’t release a Mac Pro in 2019, we can storm their headquarters ? We can even hold Bill Davis hostage !
Bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
Bill David writes –
“Someday, maybe it won’t matter where an editor is physically located — but today, it definitely still does. : ) ”Sorry Bill but you are incorrect.
1) you just stated that Cox technicians are at your place to get your internet connection up to 1G speeds that you are paying for.2) FCP X currently offers Proxy workflow. As you know, this means that your lovely client in London (or where ever) can create proxies of the original media that they are working with. If you have a shared storage system (like QNAP, Synology) that allows for remote access (heck, even Drop Box) – you put the proxy files on there, you remote into it (they assign you a password) and you edit the show. When you are done, you sent the edit list back to the original facility (your client – you send it back on their QNAP/Synology/DropBox) and they conform the show back to the original format (perhaps ProRes4444). And you are done. I mean – Bill – after all – you are paying for Gigabit ethernet, that is MORE than enough bandwidth to support this workflow !
How do I know this – because this is the FCP X workflow I setup with the QNAP TS-1685 for John Davidson at Magic Feather in Los Angeles, and this is how he runs his business.
Bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
come on – LumaForge is great ! Is it that they are too expensive ?
Bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
since this is an “OT” thread, I will express my opinion – that’s only an opinion.
What is sad about the possible reality of this is that when you “get into the business” – no one says “ok, you are an editor. You start off as an assistant. The main editor does the creative part, but the assistant (who eventually becomes a top assistant, who is very technical) does everything else – ingest, transcoding, delivery – everything but the creative process. And there are many guys (think Sam Mestman of Lumaforge) who were exactly this person – people like Sam Mestman know more than most about workflow, and all the technical aspects of editing.And the same applies to camera operators, and the camera assistants, who are the guys that go to the rental houses, get all the setups done, and make sure everything is working. What the assistant is not doing is the lighting direction and “pointing the camera” to do the creative work. But if he is a good assistant, he will eventually become the main camera operator.
Same with a top assistant editor. They become the editor. They make the connections.
What I see now (and as the assistant role disappears, as budgets disappear) is that there are fewer and fewer jobs for assistants. And so the “kid” that gets out of school – well, he owns a Mac Book Pro, and he knows how to use Premiere or FCP X (or both) and he cut a few “shows” for school, and his friends – he tries to start his own company, giving away his services. Same with cameras like the Red Raven. Kid can’t find an assistant camera gig (because there are few, and in the future there will be none according to this AI speculation) and so mom gets him the camera, and now he tries to start his own company, and gives away his services.
Everyone says “this levels the playing field” – but what I see is what I saw in the recording studio industry. THERE IS NO recording studio industry anymore. With rare exception, all the recording studios went out of business (LA post audio is the exception) and a small handful of studios with a reputation. And even those studios (like currently in Nashville) have to charge rates lower than ever.
So I believe that as AI starts to actually work, all that will happen is that it will make it much more difficult for young people to “get into” the professional market, and these young people (who are flooding these schools like UCLA and Full Sail, etc.) will get out, and they will all try to compete, and ultimately “give away” their services. You can say that “well – this is the inevitable change of the industry”- but all I see is the same demise for us that happened to the recording studio business, and has pretty much happened for a lot of the post production facilities in the United States. As AI develops, this demise will continue, and the industry as we know it will go away – except for high end jobs for major shows and big budget feature films.
When someone says “all you need to be successful is a paper and pencil and a good idea” – does that mean that it’s all going to come down to your 8K iPhone, your 2022 MacBook Pro, and a high speed internet connection ? Is that the future of post production ?
Bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
absolutely – the “old” Mac Pro from 2006 – 2012. Companies like Other World Computing (https://www.macsales.com) were created because of computers like this. You get third party RAM, upgrade your own processors, it was easy to work on. You pulled out the old GTX-120, or old ATI card, added internal NVidia Quadro 4000’s, or GTX-680’s. You added Cubix or Magma expansion chassis, and put whatever you wanted in there (like Pro Tools I/O cards). And of course I/O cards from AJA, Blackmagic, and Matrox. And of course, the AVID HIB card that went to the Nitris DX breakout box.
I would love to know the politics of Apple these days. If they get to sell you an iMac Pro, and the iMac or iMac Pro works great with an eGPU box – WHAT DIFFERENCE to them does it make if it’s an NVidia GTX-1080ti card or an AMD Vega 64 card. They don’t make either – and they get to sell the computer and keep all the profit. WHY do they care what a third party company does to enhance their product, and why do they make it so difficult for these third party companies ? Of course, this all ties in with the new insanity of SIP (System Integrity Protection) which all started in
December 2017. Bottom line – they get to sell what they manufacturer – why do they care what people want to stick on the computer, and why are they making it so difficult, after all this time ?Bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
Ranier is correct about everything he is saying.
You purchased a non matching WD drive. You had a RAID 0, so when a drive fails, you lose all your data.
Had your system been set to RAID 5 (which is every Promise RAID array ever sold), you would just put in the replacement drive, and the rebuild would have restored everything. So SOMEONE created the RAID 0 for you. Perhaps this was a used system.Bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
Hi Ranier –
he mentioned 500 bucks, not $5000 bucks. If he has no budget, he needs to test what he has right now, before spending the little money he has available to him.Bob
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
Hi Bill –
I know that you are a nice guy, and I know that you are a smart guy.But your example is ridiculous. And people like Shane know that this is rediculous as well. WHY ?
Because of our background.
“If you can’t finish this in a CMX linear suite, then you are NOT hired”
“If you can’t finish this in an AVID Suite, because YOU want to work in FCP 7, then you are NOT hired” (how many times I have I heard this through out my career).OH – I forgot a big one –
“We can’t finish this in Media Composer. If they don’t have a Symphony, we can’t on line our show there”And then once FCP 7 was over – (and it took a LONG time for FCP 7 to be over) –
“if you can’t finish this in Premiere, then you are NOT hired”.and now “if you can’t finish this in FCP X, then you are not hired”
But I am giving you a hard time Bill, because I see this now – “If you can’t finish this in Resolve, then you are NOT hired”. Do you understand that FCP X is now “old” and while it is a wonderful well established program, that there are the “new guys” – the guys that edit and color grade in Resolve, the guys that do audio in Fairlight, the guys that NEVER use Motion, and think that FUSION is the coolest thing in the world. This is no different than you and I saying “that new band sucks, the really great music was XYZ (Beatles, Zeppelin, Eagles, Who, etc). Even though you listen to NEW music, there are YOUNG GUYS that think that the REALLY NEW MUSIC is the cool stuff, and you are old and obsolete. And that WAS FCP X and now it’s RESOLVE. (this is not my opinion – most of my current clients use Premiere – I am just bringing up an example).
bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
All I am saying is that please don’t get stuck with “I spend xxx dollars on this stupid RAID array, and I am still getting stuttering video !”.
Run AJA System Test or Blackmagic Speed Tests (both downloads from the App store – free) and tell me what the speed of your USB 3 drives are. That will help me determine what is going on.
Bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
In Alex4D’s “job post” –
How certain are you that you would be able to place the complete multicam into a new project, decide on the best angles, add GVs when needed, do a basic grade, add a limiter to the audio tracks if needed and then export an XML of the project and send that XML back? We’re not trying to trip you up here, It’s an honest question about your expectations on your own abilities.”
REPLY –
so an AVID editor that can do a Multicam job that he has been doing for 15 years, use Symphony secondary color correction, use Pro Tools to limit the audio tracks, and then export an XML out thru countless compressors (let’s say Sorenson for this example) – is unacceptable ?so a Premiere editor that can do a Multiclip job that has been doing so since the day FCP 7 was discontinued, he can use SpeedGrade for color correction (or resolve) use Audition to limit his audio, and Adobe Media Encoder to export out an XML – this is unacceptable ?
so a Resolve Editor that can do a multicam job on Resolve 14, use integrated Davinci Resolve for his color grading, use Fairlight to limit his audio, and use any one of countless programs to export an XML – that is unacceptable ?
Are you implying that if you don’t do this in FCP X, it’s impossible to do this job, because FCP X is the only software program that works for a “complex” workflow like this (and for those editing a long time, this is not what I would call a complex workflow – it sounds like every reality show job I was ever involved with).
bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com