[Herb Sevush]

[Chris Conlee] “It used to be that you couldn’t find a mention of Avid on Black Magic’s site…”

While exploring my next move I discovered that ProRes is a major workflow bottleneck when cutting on PCs. Both Avid and Premiere can handle it, but it slows both down, negating the advantages of going PC in the first place. DNxHD works equally well on both Avid and PPro PC systems, giving full access to Adobe’s mercury engine. The problem had been that many recorders, most notably the AJA Ki Pro, recorded solely to ProRes. That is now changing. This BM HyperDeck Studio is joined by the Ki Pro Mini and the Sound Devices Pix 240 in offering DNxHD recording at a great price, making a PC workflow much more appealing. My only problem with the BM HyperDeck is that you have no control over file names and/or metadata, making it of limited use for me, but I will say the price is right.

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

[Herb Sevush]

[John Moffat] ” If you are an up and coming assistant producer doing a rough cut isn’t this the ideal NLE for you? Let’s not forget how cheap it is as well.”

No because once the young producer has his cut he/she has no way of transmitting the project info to a real editor, who will definitely not be working on FCPX. The only rough-cut to finishing workflow from Apple is Imovie to FCPX.

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

[Herb Sevush]

[David Parker] “Have a look at the Sound Devices Pix: https://sounddevices.com/products/pix.htm
We have a few, and am liking them much better then the Ki. They also support DNxHD.”

After learning that the Ki would not support DNxHD we did some research and had a meeting about Sound Devices this morning. The cons are the expensive proprietary SSD drives and the lack of the control software that AJA provides. Despite that, we’re probably going with the Sound Devices recorders.

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

[Herb Sevush]

[John Heagy] “Ask Netflix how they are paying for Lilyhammer.”

The fact that I am a Netflix subscriber and watch their streaming videos regularly and had never heard of this show says all you need to about the difficulties in reaching a large audience when going outside the regular distribution channels.

Movie and TV reviews in both print and broadcast media is an incredible source of free ultra-targeted marketing that are lost when using outside distribution. This is why direct to DVD movies were never as profitable as true theatrical releases. Just a guess, but Netflix will probably go for a traditional TV release after premiering on-line.

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

[Herb Sevush]

[John Heagy] “Depends on the definition of “Broadcaster””

True.

[John Heagy] “Content will always be created by “networks” or “studios” etc, the delivery is what will change.”

Always has been true, but the delivery is as crucial to the studios as the content, dating back to when each movie studio owned it’s own chain of theaters. The studios need a cost effective way to reach a “broad” range of viewers – the anarchy of the internet will not due. That’s why movie theater’s still exist in the US – they are a cost efficient way of legitimizing content because of the whole advertising and marketing ecosystem that supports them. The same is true with “Network” TV. I also don’t think the bundling practices of the cable providers with their fiber infrastructure are going away anytime soon. The demise of TV as we now know it is still many years away.

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

[Herb Sevush]

[John Moffat] “but the industry is changing fast, the technical side of making content is becoming easier and cheaper and importantly broadcasts days are numbered….”

The technical side is becoming harder day by day: more formats, more codecs, more wrappers, 3D, 4K, MXF, AVCintrad, AVCHD, DNxHD, is ProRes dying, what about the quicktime gamma shift – just how much more complex do you want it to get? And if you think an individual Ap is going to protect you from having to understand these elements, then there’s a bridge in brooklyn I would like to sell you.

As for Broadcast, get back to me when a broadcaster goes under. There are more cable channels than ever producing more shows than ever for a growing audience. Doesn’t seem like a funeral to me. Lower ratings for individual networks does not equal the end of broadcast TV.

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

[Herb Sevush]

[Oliver Peters] “Many folks have viewed FCP, Avid, PPro, AE (insert your preference here) as the one place that they have to do everything. That’s changing and the FCP X process has forced everyone (at least in the FCP world) to re-evaluate their post production strategies. FCP X may never be up to the task of doing what Media Composer does in the collaborative editing world. For some the mix will be FCP X for cutting and something else for finishing. Or maybe one tool for short form and another for long form. It just means the world is no longer a simple, neat little place.”

While it’s true I’ve worked on many different editors in my time I’ve never liked switching around, I’m a serial monogomist.

I never liked switching between a Steinbeck and a Moviola for that matter. I’m always amazed when I see editor’s shifting back and forth between FCP and Avid. When I have to do that I’m constantly thinking about which keys to hit and what menus to find, and the moment that happen’s I’ve lost my whole flow as an editor.

When I’m cutting well I’m totally unaware of what my hands are doing — I’m simply thinking about the show and my hands are making the cuts by themselves. When I’m working well like that, if someone asked me what the keystrokes were for a given function I was doing, I often wouldn’t know – not consciously at any rate. It takes months of full time use to get to that state with a NLE, and those months, while often enjoyable for the learning, are not nearly as productive. At the end of that time, when I am finally able to edit instinctively, if I have to go back to the previous system I had been using, I would be lost all over again.

So for me, the idea of using different NLE’s for different projects would be a nightmare.

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

[Herb Sevush]

[gary adcock] “It is my understanding that the original KiPro will Not support DNX encoding.”

Bummer.

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

[Herb Sevush]

[David Roth Weiss] “Mont,
Unless you use the “q” button to quote the person you’re talking about, as I did above, no one on the forum will have any idea what the heck you’re referring to. “

VERY well said!

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

[Herb Sevush]

[David Roth Weiss] “So, DaVinci here I come… Yet another complex app to buy, to learn, and to master. Ugh and double ugh!!!”

Why doesn’t DaVinci lite meet your needs? The price is certainly right.

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