Chris Harlan
Forum Replies Created
-
[Lance Bachelder] “I’d respect that if they were top “pro’s” but looking at some of their demo reels I see most are pitifully mediocre and their work needs nothing more than the actual iMovie to accomplish.
There I said it…
“Wow. Lance, I haven’t looked at your reel, but that kind of comment is particularly amateurish.
-
Good article. Thanks for posting. I found it very interesting. I hope to see more stuff like this.
-
The other big issue here is Net Neutrality. The laws seem to be leaning, currently, in favor of the sanctity of last mile provider, and quiet legislation and selective, precedent-setting legal action is further forcing us, in the US, down the road of unregulated last mile. Once it is firmly established that Comcast has every legal right to control the speed with which you can access iTunes and Netflix, the game is going to change. Its a real shame that this whole issue is so badly ignored.
-
[Chris Conlee] ” It’s based on a film cutting paradigm, and I find that very intuitive.”
I know lots of folks agree with you, but I think of it as being based on the Source/Record paradigm of analog television editing. It reminds me much more of an old CMX or a Convergence system than anything from the old film world. There was an offline system that I used for a long time–the Montage–that had a very strong film editing metaphor. It was single monitor, like FCX, and had revolving bins that were also timelines. It was very interesting to work on, but the lack of source/record probably killed it off.
-
[John Moffat] “I think FCPX is more of a threat because the skill base to use FCPX and get professional results is a lot lower than any other editor IMO. The automated way it manages media in the background and the trackless timeline requires less of a learning curve”
Dude, operating NLE’s isn’t brain surgery. Its like typing/word processing. If you are trying to be a professional, working full time, and you can’t get over the minor inconvenience of learning some concepts and keystrokes that are less complicated than driving a car and learning traffic laws, then it really doesn’t matter, because you won’t be able to survive in the business environment anyway. These automations are for casual users who would never have any need of a post house.
[John Moffat] “The way FCPX controls how you edit, hides advance features, standardises timeline aspect ratios might annoy professional full time editors but this also reduces the chance to screw the edit up. If you are an up and coming assistant producer doing a rough cut isn’t this the ideal NLE for you?”
No. Because there is no way to transfer it out of its closed environment. Again, if you can’t learn to use the handful of keystrokes or mouse movements required to do a rough cut on any of the other systems, my guess is that you are useless in the post world, anyway.
[John Moffat] ” Let’s not forget how cheap it is as well. “
So what?! There is a point where that doesn’t matter anymore, and FCX is well past it. The difference between a 10,000 dollar system and a 30-75000 is significant. The difference between three or four hundred dollars and Fifteen hundred dollars is nearly meaningless when you set it next to the cost of the equipment and other essentials for operating a business.
[John Moffat] “Maybe I’m wrong but I can see FCPX being used in-house on producers laptops in a way Avid and Premiere can’t be. “
How? What can FCX do on a laptop that I haven’t been able to do for the last five years with FCP, Premiere, and a little more recently, Avid. As soon as I post this, I’m going back to doing what I’ve been doing all morning, which is making sellects reels from 1080i source material on my Macbook Pro.
[John Moffat] “There will be more in-house time and less at the post houses. Many shows require high-end finishing only a post house can offer. Many do not. It’s not an all or nothing equation but it is clear the balance is changing and FCPX could be an important part of the change… when it stable… less buggy… and has better xml inter-change…”
This has been happening for more than a decade, ever since the first “broadcast quality” i/o cards appeared in the second half of the ’90s. The erosive damage to post houses began to occur many years before FCX. In that regard, FCX is very late to the revolution.
-
[John Moffat] “If Apple keep developing FCPX it will be a major threat to many post houses business model and therefore it is in there interests not to work with it.”
How is FCP X any more of a “major threat” to post houses than any other NLE? I’m having trouble imagining that.
-
[Jeremy Garchow] “That’s it.
The name of this forum should officially be changed to “The Armchair Speculators”.
Glad to be a part of it.
“Armchair? What are you on about? And why are you so gloomy?
Why is trying to assess the business you are in and what your colleagues are doing “armchair?” I guess I just don’t get it. Certainly we are totally armchairing it when we are speculating about what the delivery time of a Mac Pro means about a new product line, or what Apple’s 5 year plan is based on a newly published FAQ; but how is trying to guess the number of seats around town–a town that you regularly work in–armchair speculation?
-
[Les Kaye] “But no, with the notable exception of Bunim-Murray and a handful of others, most reality remains Avid. “
I don’t know, Les. I don’t have figures, and I usually work adjacent to unscripted, and only occasionally in it. I know big guns like Survivor are pretty much all Avid, as is anything else that has 17,000 lbs of footage, but I sure have seen a lot of growth in syndicated/cable unscripted for FCP over the last six years. For giggles, I just scanned back through 3 months of available editorial positions on Reality Staff. I didn’t keep a tally, but the ratio seemed to be about 1/3rd to 2/5ths FCP, and the rest Avid. This one-third to two-fifths strikes me as being in the same neighborhood as what I guess FCP saturation to be in unscripted. Just my sense from talking to people and walking around. Like I say, I don’t have the figures, but I think you are minimizing FCP’s impact in unscripted.
-
[Jeremy Garchow] “Feom what I have been reading today, (not this particular thread) is that Avid has/was/forever will be the Hollywood NLE of choice. Just seems odd that anyone in LA was using anything else but Avid if it’s true!
“
Then you’ve been reading some wrong stuff. FCP made small inroads into Features, but it was/is huge in reality, in promo, in trailers, and quite a bit of television, less so in dramatic, but huge in documentary, and magazine programing. I don’t know what you’ve been reading, but its wrong.
-
[Jeremy Garchow] “So you guys work for the 5% of people that have FCP in LA?
Crazy.
“What on earth are you talking about, Jeremy? You are aware, aren’t you, that Final Cut Pro has a much, much greater market share out here than 5%? You’re just messing with that,right?