Joseph W. bourke
Forum Replies Created
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Michael –
I was just the Art Director – I wasn’t invited to attend the NAB – just the Engineering Department. But I honestly think they would have made the wrong choices before or after the wine and dine. This was a corporate culture that hired management just barely capable of doing the job, so that they could mold them into good little corporate drones.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
It’s interesting to see Adobe doing just what Apple was doing in the old days (80s and 90s), giving hardware to local libraries and educational facilities, and providing training courses to get the kiddies used to the Mac platform, so that they would grow up to be buyers of the platform. It worked for a long time, and if Apple had seen fit to roll in some serious business applications to their creative one, we might see a world in which the Mac has 90 percent of the market, and the PC 10 percent. I’m platform agnostic, by the way…it’s a tool to me, and currently the PC side has more of a cost/performance advantage for me.
Your views may vary…contents may settle during shipping.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I’d say you’re right on the money, Jeremy. The broadcast station I worked at until 2009, agonized over the transition to HD and digital for years. Engineering was in charge of the project, and our chief engineer at the time didn’t want to hear anything from the guys who were in the trenches, using the tools they planned on buying. We were based on Photoshop, Combustion, and Edit* for several years, with workstations doing News, Promotions, Commercial Production, and a daily news magazine format show. With 3 Edit* stations, we were handling the workflow (I was Art Director/Senior Graphic Designer, and providing “pieces” for all of the above, from the on-air look, to elements.
Our NYC headquarters struck up a deal with AVID, with no input whatsoever from us (no surprise there in the big corporate world), and we were suddenly working on four AVID Newscutters, SD versions, with the promise (AVID loved to make expensive promises at the time) of an HD card that for 15 thousand bucks, would just drop in to the boxes we were using. This was the start of our trouble. The AVIDs came in, some minimal training was provided, and our workpace slowed by about 40 percent. We had brought a demo in of the Adobe Creative Suite (at the time, I believe, CS3), and our chief engineer refused to even look at it. Bear in mind, that by this time, we had standardized on Photoshop and After Effects for all of our graphics work, with Combustion still be used for tracking and keying where needed.
As the problems with the AVID systems (Unity, hardware, crashes, lost media, lots of downtime) escalated, we heard through the corporate grapevide that our owners were now “considering” going with Adobe products, and would we kindly set up a test edit station using Premiere Pro (by then CS4). We did, and the AVIDs quickly became capture stations to get media to our Premiere Pro workstations over the network.
Sorry about the long post, but I wanted to show you how convoluted the decision-making process can be when you’ve got a corporate engineering department, a local one, and then people who actually know what they’re working with. It’s a twisted path, and there are things that would never enter into the mind of the single decision-maker which get jumped on when there’s a corporate chain of command to mess it up.
In case anyone’s interested, here’s the PR from 2009 when the final jump was made to Adobe:
https://www.adobe.com/aboutadobe/pressroom/pressreleases/200909/HearstTelevisionAdoptsAdobeVideoProductionSolutions.htmlJoe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Michael –
ENPS and Premiere Pro have been working together for some time – Adobe’s initial foray into the collaboration was making ENPS work for Hearst Corporation, and incorporating it into their 28 broadcast stations.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Who said they were infallible in making the choice? From what I’ve read, the news is that they made the choice. And from the stones some of the posters have thrown here that it’s just news anyway (yuck! who would lower themselves to cut news) it seems that the elitists who sometimes slum in these forums are alive and well. Just in case you haven’t noticed, most feature films and documentaries are cuts only as well.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Here are some usage scenarios you might run into using the Orchid box:
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Bryce –
It appears that this box is the only option you have:
https://www.lcdracks.com/racks/orchid-series/OR-XDI.php
One of the huge limitations of DSLR film making is the inability to output a separate video signal and have a live LCD monitor on the camera.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Angelo –
I know that when Adobe “partnered” with Hearst Corporation, there were a lot of custom integrations with ENPS (https://www.enps.com/pages/introducing_enps) and CS4 (this was 2009). I don’t know whether those customizations remained as proprietary code, and were kept exclusive to the Hearst facilities, or whether they are now incorporated into the current version of PPro.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Paul –
I think that, as an educational institution, part of your responsibility to the student is to give them the tools which will help their success in the “real” world. I put real in quotes, because of the wide definition of “real”. They may want to start a one-person shop, or go on to teach, or get a job in a corporation which has a workgroup system – you get it.
So the more industry standards you can include in your teaching, and the broader the exposure to the tools they’re likely to run into, the better you’re performing your commitment to prepare them for the future work they may encounter.
That said, we know they’re going to need to learn Photoshop and at least a smattering of Illustrator, plus some sort of encoding tool (I prefere AME, since I use the Master Collection CS6 for all of my work), and these all fit pretty seamlessly within the After Effects to Premiere Pro workflow (although for short form stuff, I will often do the whole project in AE).
But there are so many post houses which have standardized over the years on FCP7 (and previous incarnations) who aren’t going to jump ship to Adobe, at least for some time, that it might behoove you to give them at least a look at what the standard has been in a broad swath of the industry. Then you might expose them to FCPX to show them a departure from the “normal” NLE. AVID is also a standard in many sectors of the production world, and it’s always good for freelancers to have AVID experience in their back pocket. But the jump from either FCP7 or Premiere Pro is not a huge one, since the NLE paradigm of all three is very similar. The hardest part of learning AVID is their arcane terminology and meaningless icon sets.
So I hope this helps, rather than confuses the issue. My decision would be to put the CS6 Production Premium collection on the preponderance of machines, then maybe have a license of FCPX and one of AVID to give a bit of cross-training. I don’t think you can buy FCP7 anymore, but it might be good to have that on the same machine as FCPX to show the students the recent paradigm shift (if you can call it that – it remains to be seen).
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I know that every now and then, when I open a project which came from an older version of AE, or Particular, that the location of the emit point sometimes goes off the viewable screen.
Is it possible that this other editor either resized some stuff in addition to moving it, and that the effects just aren’t showing in the viewable space? By “the particle systems are now gone”, do you mean the actual effect on the layer, or that you can’t see the effect? If you’ve still got the effects, you may just need to reposition the emmiters, so they show. Also you might check where the emitters are in the Z space. Maybe they’re just behind something?
If not, and you’re out of luck, you should make it clear to the other editor that they are to create a new, incremental version of your file before they mess around with it. You don’t just come back and stuff is gone – you screw it up and try to cover up your mistake with a lame excuse. That’s what incremental backup is for – it monkey proofs your projects.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com