Tim Wilson
3
COW Coins
Forum Replies Created
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[Jeremy Garchow] “[tony west] “I’m a big Frontline fan : )
That’s a good piece. Did you happen to notice that the little 13 year old skateboarder was cutting his videos in Legend?
Interesting”
I did! And one of the other older guys was cutting in X.
“Here’s the irony: one of the earliest stock insults hurled at X is that it’s only suited to cutting skateboard videos! In fact, there’s a thread at the COW from 2004 where someone accuses Legend of the same thing — being best suited for skateboard videos!
So it looks like the guy 10 years ago was right, that Legend is the right tool for skateboard videos. LOL
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Hi Mark,
We kind of have this in the Jobs forum. Both postings and requests are geo-specified, and we’ve seen a number of quick-turnaround jobs completed this way. And as much as I’d rather see more of it in the COW proper, we’re seeing a BUNCH of it happen on Twitter, where people are already tuned in to instant response.
I’ve been meaning to reply on that Biz forum thread, because I think it’s a great point — especially for people pix, they LOOK stock, in some cases so much so that the shots are useless.
Anyway, thanks for thinking broadly. 🙂
Tim
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As you’ve noted, Lizzie mentions their plans to use Creative Cloud.
HOWEVER, I know that this forum has more teachers in it than the Premiere/AE forums, as well as a wide range of experience with student-appropriate cameras. As a result, I moved her post here from the original forum she posted it in. It seemed like this was the right place to get the answers that would not just for Lizzie, but would move things along for the widest group of other teachers and students as well.
Please contact me directly if you have any thoughts on this. Otherwise, please keep comments here focused on the actual topic. With apologies for the intrusion.
Tim Wilson, Creative COW
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You may also have heard about that “film look” thing. Apparently one way to get it is by shooting film. 🙂
It’s also still be far the best storage medium we have, so anyone interested in long-term preservation is going to touch film at one point or another. In fact, the only film that Fuji sells anymore is for the archiving market. Digital intermediates are just that — the intermediates before the film is printed BACK to film for preservation.
A few high-profile exceptions each year don’t change the fact that film acquisition is just about done, and there will be ZERO film prints for theatrical distribution by the end of the year. ZERO.
But shops like this one will be around for a long, long time — long after the Deluxes and Technicolors of the world have been unable to make a profit on the film labs that were once the core of their businesses…..
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I gotta be honest, I saw the subject line, sighed, and moved on to other stuff. I didn’t realize that the original post wasn’t actually a discussion, but an external link. Nononono. Sorry I missed that.
Want to talk about it? Let’s talk about it here.
I sighed not because it’s not a real topic — it obviously is, and a frequent one here. But a sweeping pronouncement like that, well, it needs something more specific to advance the conversation.
I’ve noted many times that the COW was founded by disrupters. It Kathlyn and Ronald Lindeboom, who were ridiculed, sometimes reviled, in 1995 for trying to start a professional community on the INTERNET – constant chatter by know-nothing posers, cat lovers and UFO abductees. Professionals would NEVER be on the internet.
And the idea that wannabe prosumers would try to sneak into this industry with their $40,000 editing systems and $15,000 cameras? INSANITY! ARE THEY TRYING TO DESTROY THE INDUSTRY? I had competitors in my little tiny town in the middle of nowhere YELLING at me in the street because I was “only” charging $200/hr and $1500/day. “I can’t make a living on that! What are you trying to do to me and my family!!!”
The wheel keeps turning. Just like people used to complain that TV and home video were destroying Hollywood (oops, NOT), and on and on and on.
Things might happen to move a little faster here…but I’m not at all convinced that this is even vaguely the case. Much less so than for printers, for example, who really did get hammered by desktop publishing. Desktop publishing shrank the market as a whole, while new videomakers are growing the market as a whole…but inevitably, the web crashed printing harder than desktop publishing. The whole argument was about the WRONG THING.
So what’s the right thing to be watching now? Blaming it on newcomers (or Japanese automakers or Korean TVs or take your pick) might be true in the shortest of short runs, but absolutely not in the long one.
Again, apologies for letting slip that somebody was trying to divert the conversation to another site. Carry on, HERE. 🙂
Best,
Tim Wilson
Creative COW -
[Herb Sevush] “I know there are freeware solutions to encode ProRes in Widows, but I’m not interested in a workaround….”
There are multiple well-supported professional applications from people like Telestream and Harmonic Rhozet that work directly inside Premiere. ProRes is an export option like any other. No hacks, no freeware, no workarounds.
Not to say that you don’t need to pay attention in setup, but in fact Telestream Episode Engine, Vantage, and FlipFactory will all get ‘er done – professional, fully supported, painless and fast.
I’m emphasizing fast, because you’ll need to trade off price vs. speed…but you really need to see to believe. It’s one of the places where faster processing on Windows really pays off….”pay” being relative of course.
Not that that changes anything else, including general comfort level, your budget, etc. but all else being equal, ProRes shouldn’t be a go-no go question for platform because you WISELY don’t want to trust a key workflow component to freeware.
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It’s A forum, but not the ONLY one in the FCP CLUSTER of multiple forums. I suspect that you’re looking for FCPX Techniques Forum, which you’ll see linked toward the top of this page, dead center.
Best,
Tim Wilson
Creative COW -
[Rich Rubasch] “Having to cut all day then head home to cut some more is not a great creative outlet.”
I appreciate your concern, especially after seeing that you provide good pay AND benefits. The latter in particular is too rare, so good on ya.
I think the creative outlet comes if they’re cutting other stuff. Maybe narrative work on a script they wrote, or a documentary about a passionate subject. That’s the stuff they’ll enter in film festivals.
Of if that’s the kind of stuff you’re having them do on a daily basis, maybe they’re cutting industrials on the side. Who knows? But it’s a big ol’ world, with plenty that needs creating.
So, out of curiosity, what prompted this question for you?
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[Kylee Wall] “Most young editors I know have had to fight really hard to make work happen on their own. It’s not that they don’t want to be bitched at by a boss or they’re lacking work ethic. They’ve just gotten into the habit of being very busy to pay their bills.”
Great point. Taking on extra jobs should not be considered synonymous with laziness.
I also like your point about side work being a creative outlet. Sure, your employees shouldn’t be working directly for competitors, but otherwise, there’s a culture of 24-hours working that I think older bosses *cough*my age*cough* don’t understand. It’s why social media has grown. Asking kids to stop what they’re doing isn’t just impractical, it’s impossible.
The best solution of all is to keep them so engaged that they don’t need other creative outlets, and pay them enough that they don’t need a second job.
They’re still going to want to do side work, but at least you’ll have done your part. 🙂
Tim Wilson
Creative COW
I don’t need a link to that in my sig -
[Richard Herd] “Nobody really likes to talk about this anymore, but it was a big deal when Red started claiming their camera was 4K (and it isn’t).
But here you go: https://library.creativecow.net/galt_john/John_Galt_2K_4K_Truth_About_Pixels...”
They may not talk about it much, but they read about it. It was one of our most-read articles last year, three years after it was first published.
He was certainly right to point out they hype behind claiming a camera was 4K it wasn’t, but it’s worth noting that Sony uses the phrase “True 4K” to describe the new F65, which they claim is the first camera to do what Galt says should be done, which is to have at least one photosite per pixel.
Sony has a fascinating PDF to talk about it. It was hard to miss that they used the same image that I did to show the “marketing pixels” illustration of Bayered processing — not shocking, since it’s from Wikimedia Commons — but I’d like to think that their use of the image, PLUS their emphasis on “True 4K” in the F65 suggests that they read my article at some point. 🙂
In any case, very interesting reading.
Tim Wilson
Editor-in-Chief
Creative COW