Chris Harlan
Forum Replies Created
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[Oliver Peters] “That’s not exactly what I said – at least not as an absolute. This situation primarily applies to local broadcast affiliates and cable head ends around the country. They are looking for new (cheaper) blood and generally AE knowledge is more important than editing knowledge for the people who cut their local spots and local promos. A lot of these stations no longer have a dedicated graphics department (excluding news) unless they are running a website as a separate revenue center.
– Oliver
“That’s undoubtedly true. We are in agreement. I bet, though, they are looking for folks who can write good copy, too.
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[Tim Wilson] “t looks like the definition of low-hanging fruit.
“Yeah, definitely. I have it. Its fun. It kind of reminds me of Pinnacle products I bought for fun a decade and a half ago. Its just a cute little “what’s it,” not a planned foray into tablet editing.
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[Oliver Peters] “One pro area that Premiere Pro has made inroads into is the VFX community as a conduit application. We ignore that, because as editors, we think in terms of creative cutting. A lot of VFX guys use some PPro in their workflows (usually to/from AE), because of the ability to handle EDLs and DPX files. If you check out the motion picture press articles (like The Girl with the Dragon Tattoo, Hugo, Act of Valor), Premiere Pro has been used as a conforming tool in conjunction with AE, even when the creative cut was done on FCP, Avid or Lightworks.
I also know a lot of promo editors who do most of their fancy work in After Effects. The NLE is almost inconsequential. Take a look at the types of new editors hired into broadcast creative services out of school. The number one criteria is invariably knowledge of motion graphics (specifically) AE, more so than the brand of NLE they know. For those folks, PPro is by far the best fit, precisely because of the AE integration.
“I agree with almost everything you are saying, though maybe not about Motion GFX being THE number one criteria for an editor. Certainly, it is potentially high up there, and I’ve gotten very good millage for having acceptable gfx and compositing skills. For any one-man-band, its very important, but for large “broadcast creative services–“where gfx are generally handled by a different department– I’d say the chief criteria is still A) the demonstrated ability to tell a compelling story in a minuscule amount of time, B) to be able to do so with extremely short turn-around, and C) to make alterations to that work under a great deal of pressure and in a very limited timeframe.
The other two elements that are, to my mind, equal with gfx skills are the ability to write and produce. Again, this is more for the small shop or one man band, since in “broadcast creative services” those positions are generally held by others, as well.
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[Tim Wilson] ” it rattles the 100 year old conventions of film editing that FCP Legacy was built”
Its funny. I came out of television, which embraced electronic editing first, so I tend to think of anything with a Source/Record motif as being a child of television. The gulf that used to exist between film and TV editors seems almost unthinkable today. I mean, everybody still gets stuck in their respective niches but the degree to which film and television were such different planets is difficult to describe to people today.
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[Franz Bieberkopf] “My experience is similar – Avid and “other” in the labs I work with and majority FCP7 for “offline” uses. I agree with Jeremy (and others), I think the next twelve months will be the shift though
“Yeah, I see this as well. Because I’m largely in promos/commercials/high-end Sizzles, I work with a variety of GFX artists and creative directors who have asked on and off over the last half-decade or so, why not Premiere? Mostly they ask this because it would make their AE integration easier, and because they’ve played with it a little bit since they generally have it on their system. I’ve never felt any actual pressure over it; it has always been more of a lingering question rather than a desire to implement. These are a group of folks who generally respect other’s toolset choices, because they are also loathe to explain why they might want to use one 3D modeling tool over another. But still, the question gets asked.
This particular pro segment has been very accepting of FCP 3-7, btw, and is one of the few film/broadcasting niches where FCP may have/have had the lead over Avid in installed seats. Based on what I’ve seen in the previews of CS6, I would imagine that–over the next year–Premiere will begin to take a healthy chunk of those seats. My guess is that, while Avid will probably regain the lead in this market, I will have to learn Premiere fairly deeply, whether I want to or not. I mean, there’s not going to be a good answer to “why not Premiere?” Other than, of course, nobody else is. And I’ve got a feeling that won’t be true for long.
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[Tim Wilson] “Kidding aside, kids are learning that NONE of this is all that hard. When you need to learn something else, learn it.
“Why are you still talking? I’ve already learned the next thing, and am on to the one after that.”
Not that I’m into that “Ah beeleeeve that children R R fewwww-cher” nonsense. Kids are idiots. And like all geezers, I think they have it way too easy. But I also think they have it right.
“I agree. I think its a golden time to be popping into this whole world. When I first popped into it, EDLs were still rare, and the “magic” was being able to put all your offline edits on punch tape–including all of the mistakes and/or re-edits–and then pay dearly to watch them reassembled–including all of the mistakes and/or re-edits–on 1″ tape. The fact that they have to navigate half a dozen choices that give them near-state-of-the-art facilities in a box elicits no pity from me. Its also why I chortle anytime someone refers to FCP X as a revolution. Parts of it are interesting. Parts of it are different. But the actual video revolution that took place a couple of decades ago was so large in comparison, that calling X “revolutionary” is like someone finding a tree, piddling themselves a little pool, and then proclaiming, “Look! I made me an ocean!”
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THAT was fun!
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I know you guys might not feel it, but I found this an interesting conversation to follow.
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Keep the hope alive, Thomas. I don’t think you are right, but I would be very happy if you were.
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