[Herb Sevush]

[Tim Wilson] “If I can’t see a film digitally, I don’t go. I find the bouncing around intolerable, scratches distracting, the changes between reels jarring. I wouldn’t tolerate a tenth of that in my tv, and see no reason why I would pay money for such dramatically poorer presentation, especially when I’m not allowed to be in my pajamas. “

Apparently we’re both voting with out pajamas.

Since I grew up with film projection none of the artifacts bother me, as long as the projection booth is handling things properly. I also don’t think the issue is movies that are shot digitally, I just saw “The Artist” projected on film ( I think) and it looked great. My problem is strictly with the horrid color saturation and contrast in every digitally projected film I’ve seen. I understand the commercial pressure to do away with film prints, it’s just that if your trying to lure people out of their houses it helps to show them a picture better than the one they can see in their living room. Until then, the PJs win.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Michael Gissing] “many multiplex film cinemas in my country look awful. Digital projection has actually improved many of them.”

I’ve been to dozens of different theaters in the New York City area and digital projection in all of them is horrendous. I believe it if you say digital projection “can” be good, but I have never seen it.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Bill Davis] ” I still thought the different take on what “quality” means to various consumers and audiences was worth sharing.”

Back in the day of stereo components certain speakers (Cerwin Vega among others) were favored for their “maximall base” sound by the disco crowd. As usual the only thing new here is the amount of marketing surrounding an old practice.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[tony west] “Are you referring to the EVS?”

Actually I was referring to XOS ( https://www.xosdigital.com ) a company that makes software for the video departments of football and basketball teams, both pro and college (there are others competing in that market.) Yes they cost way, way, way more than 300 bucks and you need to buy different applications for each sport. For that money you get incredible speed in breaking down and archiving games with a very rich database.

I don’t think it realistic for a TV news department to have them, I was talking theoretically about the value of targeting niche areas in editing.

Just as X might be faster than say Avid in cutting sports there are other specialty programs that would be faster than X. My question is – is that the wave of the future, specific NLEs for specific tasks, or is a general purpose NLE still more valuable?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Richard Herd] “Ostensibly, a new compound clip is created with all the clips in sync, stacked on top of eachother.”

OK, now you’ve got this compound clip.

Of course first you would have scaled each clip back and re-positioned them so they are all visible as the same time; it doesn’t work if you only see one angle while your trying to cut.

So now talk me through actually dropping the correct full frame clips down on the timeline in sequence, and changing angles after your first pass, and tightening up audio as you go, because I’m not talking about a concert with a fixed length piece of audio, but rather a one hour cooking demo that has to be cut down to 9 minutes.

Or maybe you’d rather work with a real multi-cam feature, which is how all the other 6 current NLE’s handle it.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Marvin Holdman] ” At some point, getting to your legacy projects is going to be a tremendous pain, the compulsion for facilities to migrate to another solution quickly is to mitigate this future problem.”

A major point in the argument for changing systems as soon as possible. The longer you stay with Legacy the more projects you will have to migrate, a process which is rarely without defects.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Bill Davis] “My needs, Tony’s needs, Herbs needs may sometimes be similar – but that doesn’t been they are the same.”

The question then becomes should the market break down into “niche” NLE’s that are aimed at specific users, or is the ideal to make an NLE that fits all workflows.

For instance, as per Tony’s comments, there are products made solely for sports, narrowed down to different products for each sport, that can break down game films much faster than FCPX can. At what point do you say – enough specialization, I don’t know what project I’m likely to cut next, I want something that can handle anything?

I’m not disagreeing with you by the way, I’m just exploring the implications.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Tim Wilson] “Film? Fade to black.”

Much to our loss. I’m amazed I don’t hear other people complaining but I now refuse to go to any movie theater that uses Digital Projection – I’d rather see it at home. The lack of color quality is astounding, it’s like looking at someone lit by fluorescent lights – positively ghoulish. I know it’s not an option because of costs, but I’ll take the scratches, grain and projector weave of film projection anytime.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Richard Herd] “You’re no Bob Zelin, but getting close. At least Bob answers questions.”

I take that as a very high compliment indeed. As for the question you want answered, by that I take it to mean you were serious about using the “sync button” for multi-cam purposes. What precisely would be your workflow for a 5 camera shoot where some of the sources are not locked by time code? What would the sync button do for you?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[Herb Sevush]

[Richard Herd] “Why not use the sync button?”

I assume that’s a joke, right?

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf