Tim Wilson
3
COW Coins
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[Oliver Peters] ” Maybe closer to BorisFX with Media 100.”
That’s what I’m thinking. Both companies saw low hanging fruit that was affordable, and potentially fun, to pick up and develop, rather than what they thought would be a game changer.
EditShare doesn’t need a new cheap NLE to seek storage, though. At this point, they’re ALL cheap, even Smoke, relative to the market as a whole when ES first came on the scene. ES already offers a strong alternative to Unity, and afaik works as well worth other NLEs as you could hope. Their market is always going to be (oversimplifying) “everyone with more than one seat of anything,” so it seems unlikely to me that Lightworks moves the needle on a single work group’s worth of shared storage.
And to repeat Herb’s observation, the original LW pitch was “ours has a wheel.” I guess this is all doing a fine job keeping Editshare name out there, and a viable Lightworks is a laudable goal. .. but I don’t see any aspect of it that will save ES’ s business if it needs saving… or making the lives or livelihoods of editors at large appreciably better. Unless the lack of a wheel interface had been bringing them down, or they’ve been feeling the lack of a science project in their lives. That’s cool. I’m on board with that. I also like talking about it.
But this is why I’m left asking, as an actual thing for the rhetorical ME, are we talking about this for any reason besides that it’s fun to talk about?
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[Herb Sevush] “One of the most counter intuitive aspects of our industry is that high-end feature editors are sometimes the least technologically advanced editors you can find. Feature editors were the last hold-outs for the upright moviola when the flatbeds came out and they were very late to accepting the digital NLE.”
This is especially important to note in the context of Lightworks: its original adoption was HUGELY tied to its hardware interface. Some people say COMPLETELY tied. I don’t know that that’s fair…but I used to work with one of its former product managers, and he thought it was pretty dang close to the latter. He joked about developing software for people who have a fundamental distrust of software.
It’s a pretty slick piece of hardware, though. Thinking about it in terms of a color correction or audio control surface, its $3000-ish price tag actually sounds quite good.
They also have a color-coded keyboard that I think would be essential, especially for anyone opting out of the controller, because that’s the thing. This is a system whose sweet spot is people who don’t just edit features — but who also used to work with, and MISS working with, actual film.
This isn’t meant to be the loosey goosey, hippity hoppity “Yipee ki ya motherchunker!” “I’m takin it to the MAN, man!” guerilla software that some people are making it out to be. I’m not saying that about the folks on this thread, but as you walk around the internet, it’s hard to miss the cries of “Woo-hoo! Open source! Take THAT, all you A-company-holes!”
I dunno. I haven’t touched it in 8 or 9 years. I have no idea how it compares to the current state of the art. I’m just observing that, every time it comes up, I ask myself, “Will ‘available for Mac’ include the hardware controller?,” followed by, “Is it all that compelling except philosophically?” By which I mean — sure, fun to have in the bag of tricks, but really? Change horses?
Hey, I’m all for chatting about anything that looks interesting for its own sake, and this certainly does, but I’d like to hear more about what you guys think of it it “for realz.” As a wise man once said, “I will forever be the idiot in the room, but perhaps I am misconstruing the details.”
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Aindreas, I don’t agree even the tiniest bit with what you say about knocking over the entire intellectual domino set of editing itself, but that might make a good subject line for another thread.
LOL ANOTHER THREAD.
I had hoped that when I put “Soooo….how’s business?” in the subject line of this one, that it would indicate an interest in the BUSINESS of individuals and their companies here, and HOW those individuals and their businesses are doing, whence “How’s business.”
I had also hoped that by saying “OT,” it would indicate an interest in NOT talking about FCPX in this one single thread. I added “ish” because, by design, nothing is truly off topic in this forum….
…however, I accept some responsibility for your confusion because I failed to add NO FCPX ALLOWED to the subject line. I hope I have now clarified any confusion.
Please allow me to try again.
AINDREAS, SOOOOOO…..HOW’S BUSINESS???????
LOL
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I’m also going to suggest Chrome over Firefox. Always. LOL
Here’s the thing about the email bounces. It only takes one word in one email to hit your email client’s spam filter, and even if alllll the other emails from Creative COW and everywhere else are coming through, one single bounce of an email from us (say, a thread you’ve subscribed to, or a newsletter), and Google requires that we suspend your account, or risk getting labeled as spammers.
I took a quick look at your account, and it looks like there may have been some bounces from your SBC address? Maybe you stopped using it before you changed the email account you use for the COW?
In any case, as Abraham notes, this is almost certainly the set of issues your suspended registration revolves around. Just an email bounce or two. We’ve got nearly 250,000 accounts, and this kind of back-end monitoring is handled automatically. There’s no sign that you’ve ever misbehaved. At least not with us. 😉
Best,
Tim Wilson
Creative COW -
My teensy slice of the story: my father was the one who introduced Steve Jobs on the stage of that event. He worked for Apple from 1978 or 79 through 85. He was also sitting next to Steve in the conference room with a dozen other guys when Sculley unveiled a new org chart that didn’t have Steve on it. Not EXACTLY fired, but…
Anyway, among his first responsibilities before he moved to Cupertino was running Apple’s manufacturing facility in Carrolton, TX. Here’s a picture I found of Apple II machines in that 150,000 square foot plant.
It’s easy to forget now, but Apple II was in full effect until 1993. There was a real concern among dealers, developers, and who knows, maybe customers, that this would remain a viable platform, so, also in 1984, Apple hosted the “Apple II Forever” event to assuage their fears.
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Echoing the observation that IBM was the arch villain, here’s the most bizarre artifact of the era, an internal “Psych up! This is war!” promo video — a newsreel-style thing that morphs into a war B-movie with IBM as the enemy. (“They have the plague, but we have the cure!”, and “the Big Blue Mono-blob!”….and this absolutely priceless line, “They are the elephant, and we are….the mouse!” Dude, IBM is leading prisoners through an office in chains!
Best of all: Steve Jobs as Franklin Delano Roosevelt!!!
You might THINK you don’t need to spend 8:45 watching this, and you are really, truly mistaken — you DO need to watch this. I guarantee you’ve never seen anything like it.
Assault! Landing! The first beachhead of freedom on a vast continent of oppression! The start of a long fight for liberation, a fight against all odds, and leading the forces of freedom…is…MACINTOSH!
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This was actually an important point to establish, because it wasn’t clear even within Apple exactly what Mac was supposed to represent. Given Steve’s penchant for secrecy, most folks at Apple didn’t see it before WE did. But it’s still absolutely ape-spit bizarre.
Not that this REALLY has anything to do with anything, but this is some of what I think of when I think of the Mac launch.
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It’s still a little early, but you’ll be seeing tons of them very soon — many of them embedded in the ads on this very page, others included in third-party newsletters sent via the COW. It won’t be long before you’re unable to avoid them. 🙂
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Are you speaking about things that have broken in the 10.1 release from earlier versions of FCPX? Or are you saying that someone who is considering moving from FCP 7 should stay put? Both? Something else?
Sorry to be confused, but I’m not quite clear on where in the process you’re talking about.
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Hi Daniel,
Have you already secured permission to use the stadium? If not, I think you’ll find that union labor is the least of your worries — a small fraction of one percent of your costs, almost all of of which will be going straight to the oligarchs.
I’d love to hear if you were able to work something out, but trying to go down this road a while back,
When you say “major” stadium, that says NFL or Division I college – stadiums which are often bigger than NFL stadiums. They just tend not to have all the issues related to named sponsorships that pro stadiums do. For example, if YOUR version of “Jimmette” Stadium is even vaguely identifiable as “Gilette” Stadium, guess who gets to weigh in?
Which gets to the script. ALL stadiums are going to have boards of directors who’ll want to sign off on it. And not just the stadiums, but their corporate overlords, and municipalities who have a stake in ownership.
For example, the City of Green Bay is the primary owner of Lambeau Field. The Canton, OH City School District is the owner of Fawcett Stadium, home of the NFL Hall of Fame game, the McKinley Senior High School Bulldogs, the Timken Senior High School Trojans, and two colleges whose names I’ve forgotten…but at 22,000-ish capacity if I recall, hardly major.
Still, you ready for somebody’s School Board to sign off on how your movie, TV show, or commercial will make their stadium look?
The Boards of Regents at a college will be even more adamant, since your portrayal of the stadium might reflect on the institution as a whole in a way that they have to explain to parents, alumni or potential donors, and that may affect the “brand” of the college for recruiting students (and athletes) at all.
One of a handful of privately-owned NFL stadiums is Sun Life Stadium in Miami, owned by Stephen M. Ross — a guy who didn’t become worth nearly $5 billion by letting people just borrow his stadium.
Even if you get to park for free (parking rights are often held by a different entity altogether), you’ll have to pay the stadium’s landscaping crew, their security — a subset of pretty much everybody who’s there on game day short of the concessions guys.
Although….oncessions are likely via Aramark, who services 150 stadiums and other facilities. You’ll need to check with them about having their logos around. Depending on the facility, you may not have permission to cover or remove the Aramark logos, either in shooting or in post — you have to get their signoff, period.
(The the other companies whose logos are all over the joint.)
I’ve been talking about owners and commercial stakeholders — there’s also management to think about. For example, Soldiers Field is owned by the city of Chicago, but managed by SMG, formerly the Spectator Management Group, which had been founded by Hyatt and…you guessed it, Aramark. SMG handles…I’d have to look it up, but I want to say 8 NFL stadiums, plus dozens of arenas. I don’t know how much say they have in whether you shoot or not, but it’s entirely conceivable that they’re the people who have to say yes before the city weighs in. Just a guess….but yeah, gotta account for management and ownership being two different entities who may have incompatible agendas.
What’s your budget for insurance? Because you’re going to need a pile of it just to walk on the grounds.
In the end, you’ll probably beg, BEG union workers carry your gear, because you’ll have collapsed under the burden of servicing the oligarchs.
LOL
I could be wrong about all this in TODAY’s environment, and maybe the people I talked to just didn’t like me and WANTED to make it hard on me — TOTALLY a possibility — but I’m not under the impression that stadiums have gotten less complicated or less expensive over time.
That’s why my own most desired set of answers on this thread are finding out how you secured the facility. 🙂
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[Jeremy Garchow] “[Lillian Young] “I can’t lie and say it’s not a little off-putting that amateurs and non editors use the same software as pros now by using X, BUT the entire industry is changing across all multimedia disciplines. ”
But you see, this is a reason that FCP Legend became so popular in the first place over the last decade. The industry has already changed a lot.”
Going back a little further, Jeremy, I know you were around to remember people saying that broadcast-quality output from a Media 100 for “only” “as little as” $7500 for the bare card, and the complete NLE, CG (remember when titling was a separate, expensive module, if not a separate product?) and almost-real-time effects for “only” $50,000 in today’s dollars was going to bring the industry crashing to the ground.
Even the words “broadcast quality” were the LAST words that any broadcaster wanted to hear. To them, it sounded like the hoofbeats of the horsemen of the Apocalypse…which is of course exactly what they were. 🙂
More than NLEs though, I think it was the Sony UVW-1800 BetaSP deck, which allowed “anyone” to create a final deliverable for a TV station, for the “low, low” price of $15,000 in today’s dollars. It changed EVERYTHING, because “everyone” could afford one….despite people with broadcast decks that cost ten times as much saying that this cheap crap like this had no place in professional production.
Heck, in Sony’s own parlance, the “U” in UVW stood for “Universal.” I don’t think even THEY anticipated how easily it replaced their own BVW (“B” for “Broadcast”) gear in so many parts of the world.
And After Effects? Fuggedaboutit. No such thing as professional motion graphics for $3500. (Again, in today’s dollars.) INSANITY. Can’t be done. Nobody with any self-respect would try to pawn themselves off as professionals with nonsense like this. After Effects is a toy, a joke.
Or not. LOL
And no kidding, this really did change everything. A massive part of the industry was built on individuals outputting After Effects via Media 100 to a UVW-1800 deck, and another built on UVW BetaSP gear and the Media 100 NLE. It wasn’t until then that the final piece of the inevitability was in place: “anyone” could afford “everything” they needed for crystal-clear, laser-sharp output with, in some cases, capabilities that simply didn’t exist in the more expensive “professionals only” products.
Obviously not entirely true, but close enough to true that the door hadn’t just been opened. The walls had fallen.
So, the numbers change, but, except at the upper end of the upper end of the market, the apocalyptic hoofbeats keep coming.
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[Jeremy Garchow] “What are you doing with your PCIe cards?
Holiday ornaments, hung from the mantle right next to my NuBus cards.
The tree is also decorated with U-matic tape heads and the eight one MEG simms that I paid $5000 for in 1991. They’re family heirlooms man. “Grandma, what’s RAM, and why does Pop Pop cry whenever he looks at those little green sticks?”
The good news is that all this stays pretty shiny for a good long while.
