Christian Kinnard
Forum Replies Created
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The rare Community reference… well played.
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I definitely see your point. Andrew also made a good point about reality editors etc. I was thinking about those of us under the Union umbrella, we all lumped in with DPs grips etc, so it would be hard to export our jobs, without fury break loose. Trailer editors are unionized but not most reality editors, and I guess I could see that being a problem.
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I live and work in Hollywood and havent heard of anyone loosing jobs to India. Also, I personally dont think TV has ever been better. Show like Breaking Bad, Mad Men, and my current favorite this your UK’s Luther.
That said, and I’ve made this argument here before, it’s not the editor in Hollywood that resists change, it the giant system around us. Producers, EP, directors, are used to certain workflow, and when that much money is on the line they fear change.
CK
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I’ve had that happen when an audio file is 44.1k (or something other than 48k). That said, I feel like I’ve had it happen at other times too, but the 44k problem has been the only identifiable issue.
Nearly blows out your ears.
Christian
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Painfully accurate.
Christian
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Yeah, wouldn’t be a problem. Essentially, the only issue is forcing a certain monitor to behave as the external monitor. Nothing funky happens if you just have two monitors in one card. Really nothing weird happens at all, just when you try to turn on full screen monitoring.
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You kind of have to trick FCP a little bit. Essentially, you set up your monitor screen on the first card 2nd slot, then use your 2nd card for work spaces. I’ve been running the 120 on my late 2008. It takes some tinkering to get the exact layout you want. I’m pretty specific as to which monitor my finder bar is on etc. I also did this set up on a studio film offline, 2006 quad, 2 of us editors had a 3 monitor set up no problem.
A cheap monitoring solution if you only want playback and workspace. I never do color correcting myself, so I just need to see the offline playback. Obviously the caveats of inaccurate color apply.
Christian
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Yeah, I know people make a lot out of straight numbers. They are making their money with the smaller devices etc, and right fully so. But there is that element in which Apple had a major cool factor because of it’s tie to the industry.
Again, not saying as a company they aren’t doing the right thing. I just feel that FCP really helped add to their “creative types” aura. It’s interesting to think about what the perception would have been without FCPs foot in the industry and how much validity it added.
Christian
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[Chris Kenny] “What bugs me is that people keep saying, basically, “There’s something wrong with this app” when what they really mean is “This app doesn’t fit the editing style I’ve developed over years of using apps that work differently”.”
But the point is where this app is taking the industry. So, my problem isn’t “how it fits my personal workflow”, but to push the industry forward you have to bring people with you. I’m saying I can’t come along, because my projects and the people affiliated with me aren’t coming along. This has nothing to do with my lack of desire to change (which I’ve said before). I however am attached to other people and their workflows. Even if they are unusual circumstances, I want the ability to adapt. In fact, each director I work with want to work completely differently, I’m constantly adapting, I don’t think one project is ever the same.
You don’t seem to want to hear that. You seem to think that editing is one man and a computer. But to quote you “But whatever. Meta-debating is always boring. I’m done with this particular exchange.”
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[Chris Kenny] “This feels like a fairly unusual circumstance.”
Easy way out. Instances like that are not unusual at all, which was the point of my posts. If you think like that, I wouldn’t be surprised if you were on the FCPX development team.
And no, using auditions is not several fewer steps. I explored that avenue.