Greg Janza
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COW Coins
1
Premiere Pro Coin
Forum Replies Created
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Are you using proxies? If not, why not?
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And just in case there’s a Mac user who’s concerned about cost, all of the SSD upgrade offerings directly from Apple have an added ‘Apple’ markup of nearly 100%.
Current Newegg prices:
Samsung 970 NVMe’s: 1T $322, 2T $583
Apple 1T $600, 2T $1k
Sabrent 4T $850.
Apple 4T $1600https://www.linkedin.com/in/tmprods
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[Mark Raudonis] “I think you’re VASTLY over estimating the cost of gear. For basic off-line “story telling” editing, a low end iMac or comparable Windows system is fine. You could eBay one for way less than $5K, all in.”
I agree. The move to remote workflows for editors has been made possible in part, by the incredible advances in computer hardware design and the cost reductions that’ve accompanied it.
And I can’t speak for Herb but my costs to build a fast edit system with enough storage to handle all types of projects would barely get me this used 2014 Nissan Versa Note which has 104,000 miles on it.
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All of this is great dialogue for how to envision our work in the future. The idea of waking up in the morning and trudging off to an office is so deeply entrenched in everyone’s minds as the norm that even with Covid as a reality, it’ll take a fair amount of effort to create change. And perhaps this is where freelancers and independent contractors can lead the way.
Here’s a recent article from an Irish perspective but the ideas in the piece can be applied to many other places:
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it’s a Premiere bug. Step into the multicam and move the hidden angle to a different video layer and then move it back. It should then reappear in the multicam window.
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[Tony West] “That’s the upside of the “union relationship” it seeks to try to prevent the undercutting or “race to the bottom” if you will.
“I don’t think that properly explains the WFH partnership between freelancer and a hiring company. In my market, there was a period of time a number of years ago where an added system rental charge was considered an acceptable added charge on top of an editors day rate. However, as remote work has become the norm this added charge was eliminated.
I agree with Mark that the WFH agreement is a classic win-win for both an editor and a facility. The facility wins because it frees up space to have another editor work on a project or it might reduce the overall office space and computer equipment needed by the company.
The editor also wins because he or she has much greater flexibility in their work day. No wasted time commuting and a flexible work schedule which allows for work/life balance – like taking care of children, doing laundry, grocery shopping, etc., etc. And as long as the pay rate is competitive with the market norms, there shouldn’t be a concern of being taken advantage of by the hiring company.
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[Tim Wilson] “It’s certainly true that folks like Herb who’ve been building TV series with remote workflows for years have been able to load up for bear, and they’re ready for anything.”
I fall into the Herb camp as a long-time freelancer. I’ve been fine tuning a home system for many years to be prepared for any type of project. I also fully remember the rental days of systems but over the years (at least in my market) as editors migrated much of their work to remote environments, ownership of full systems has been the tradeoff.
[Tim Wilson] “But folks in their 20s and 30s who are buying less expensive gear for themselves will still be able to scale up IF they only need to pay for it when they’re using it, ie, when they have someone else to pay for it. They can keep training on their laptops in the meantime, and who knows. Maybe those are the skinny terminals that they use to log in remotely.
“Yes. I think you’ve hit on the real future for us cutters – thin terminals worked on remotely and connected to a server which stores the camera originals but which also creates proxy files for editors to easily work with until mastering stage.
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[Bob Zelin] “Exactly what is going on here. Are there ZERO BUDGETS and everyone is getting paid pennies ?”
Most veteran editors that I talk with would have no need to purchase or rent an Avid system or Avid storage. Working on television series from home has been a reality for awhile. And while it’s great that there are facilities offering this gear, it’s very unattractive from a hiring perspective. In 2020, editors need to have their own full edit systems at home to remain competitive.
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[Oliver Peters] “Note as well, that a number of tech companies are talking about paying less for WFH employees. Hopefully that’s not a trend.”
Facebook has said that the pay structure adjustment will be based on one’s geographical location. A contractor or employee in San Francisco or New York has a much higher cost of living than that same contractor/employee in other more affordable places.
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[Oliver Peters] “if remote work will truly be the norm and not the exception, you are going to design and build post facilities in a completely different way”
Exactly this. This forced situation is causing a complete re-think of what the post workflow can and should be. I don’t think it’s money down the drain but it may require re-purposing of hardware resources.
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