Herb Sevush
22
COW Coins
20
Premiere Pro Coins
Forum Replies Created
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[Evan Schechtman] “The facility is 95% FCP, sure. And has been the entire year. “
and how does this jibe with the following quote from the article that started Bob on this thread:
https://www.apple.com/finalcutpro/in-action/radical/
“Schechtman notes that the company has already moved 25 percent of its current projects to Final Cut Pro X, including a high-profile campaign for Grey Goose Vodka and recuts of the film celebrating the 25th anniversary of Paul Simon’s Graceland.”
25%, 5% –
“numbers, numbers, I’ve got lots of numbers” Chico Marx, The Cocoanuts[Evan Schechtman] “I hope this has answered your questions and criticisms directly”
I think it does. It’s 2 1/2 years later and your still talking about switching over to X at some future date.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Great vid, thanks for posting. As long as the black levels are correct and the white’s don’t go over 100 I believe PBS would accept it.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Gary Huff] “Don’t see why they wouldn’t after porting Sound Forge to it.”
Lets hope the Vegas port is better than the Sound Forge port, which was buggy and awful and hasn’t been updated since it’s release.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bob Zelin] “So my comments about @Radical Media come from perhaps MY misinterpretation of the original videos.”
Here’s a quote from a thread about Radical Media CTO Evan Schectman and FCPX from November 2011.
https://forums.creativecow.net/thread/335/20688#21022
Craig Seeman“Outpost Digital’s founder Evan Schectman spoke at MoPictive (Moving Pictures Collective formerly FCPUGNY) in addition to his usually FCPX demo he said that he’d been beta testing the next major release of FCPX coming next year. Obviously with the NDA guns pointed at his head all he could say is that he’s very happy with the way Multicam is being implement, broadcast monitor is good, there’s other good stuff coming and he’ll be moving his facility to . . . FCPX on that release. He feels it’ll be ready to take on their professional work.”
So I don’t think Bob was off the mark with his criticism.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bill Davis] “Even Chris H. and Herb don’t yell at me any more when I say nice things about X. “
I never felt like I did. I only yelled when you made unfounded claims for X. But if you want I will yell at you again for old times sake.
[Bill Davis] “I know that Herb still doesn’t quite understand that Magnetism is nothing more than a path to a place.”
I understand it, it’s just not my preference. I have no doubt I can edit with it, just like I adapted to the silly way FCP legacy handles in and out points. Just the same way I prefer a manual transmission and seats on the third base side, magnetic timelines are a preference thing – in some situations better, in some worse.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Andy Branner] “The other two are brilliant.”
thanks for the tip, I can see where Michael Wohl might be a good resource for me.
[Michael Wohl]“I think there are quite a few really nice, new features in Final Cut Pro X. I’m not referring to the obvious, flashy ones, like the Magnetic Timeline—the way things move out of the way when you drag them around—I’m not really impressed with that. I mean it’s cool and it looks good and for some editors it’ll prevent a certain number of mistakes.”
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bill Davis] “I didn’t make any argument on whether he’s correct, or off base, or anything else. I just posted it because I found it interesting. “
You are quite right. My apologies for my assumptions.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bill Davis] “Interesting read.”
Funny, but I don’t notice this next generation paying to watch movies shot on iPhones. The democratization of media is a wonderful development, but as long as it costs a million dollars a week to hire Brad Pitt, there will still be a place for high end tools. The author, and you too Bill, fail to distinguish between amateur home movies and professional media. 8mm film was good enough for Zapruder, and iPhones are fine for uploading gas attacks in Syria to youtube, but if your shooting a car spot that costs 100K to make, I expect to find a real camera on the set.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Mark Raudonis] “Imagine the chaos of managing a team of hundreds of editors flipping back and forth between their “NLE of Choice” depending on their mood, perception of tool set and phase of the moon. It would be a nightmare. The larger the team, the more important it is to commit to a common platform.”
This is true for me and I only have a team of 3-5 editors, but years of archived projects, which is why the choice of my next editing plaform looms so large. I am not polygamous when it comes to editing.
Given that all the major NLE’s can handle, with more or less grace, anything thrown at them I cannot imagine what gains you’d make in choosing a specific NLE that would not be offset by the confusion and loss of speed inherent in using multiple programs. It’s one thing for a freelancer to master multiple platforms so as to increase his job possibilities, but for a producer I don’t see the logic.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jok Daniel] “different types of productions have different needs, and that will be reflected in the going rates of their respective markets. Big budget agency work (e.g. a commercial starring a celebrity, as in the OP) is a long hours, tight deadlines, high stakes kind of market. That is reflected in the rates.”
Right. 25 years ago the exact same DP would charge $500 for a 10 hr day for an industrial and $1500 for an 8 hour day for a commercial, not including equipment. One DP I know explained it as being based on the ass*ole factor for working with an ad agency. The difference for the rest of the crew wouldn’t be as big, generally a 25% bump in rate, but then again the crew sizes were always bigger, so the cost per department was often 2-3 times as large as a corporate gig. This was simply considered normal. The deadlines weren’t any tighter but yes the stakes were much higher, which again is why there was no downward pressure on costs – there is no price too high for success nor low enough for failure, especially when the agency was charging the client a 17.5% commission on costs.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf