Joseph W. bourke
Forum Replies Created
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Darren –
What you say is true, but you can’t hang this on the politicians entirely. It’s corporate lobbyists funded by corporate greed that got us where we are today – the politicians just followed the smell of the money and saw their own chance to cash in (greed again).
Here’s a quote from Wendell Berry, one of the finest writers of our time, about corporate greed:
“We Americans are not usually thought to be a submissive people, but of course we are. Why else would we allow our country to be destroyed? Why else would we be rewarding its destroyers? Why else would we all—by proxies we have given to greedy corporations and corrupt politicians—be participating in its destruction? Most of us are still too sane to piss in our own cistern, but we allow others to do so and we reward them for it. We reward them so well, in fact, that those who piss in our cistern are wealthier than the rest of us.
How do we submit? By not being radical enough. Or by not being thorough enough, which is the same thing.”
The whole article can be found here:
https://www.orionmagazine.org/index.php/articles/article/147/
It gives one pause for thought.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Marc –
What Steve is talking about is a PZM (Pressure Zone Microphone). It’s great for conference rooms, and you can find out way more than you want to know about them here:
https://www.bhphotovideo.com/find/newsLetter/ExploringBoundaries.jsp
They are also referred to as boundary mics.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
What Dave says is really good. Also, try thinking about what you see when a branding iron hits a piece of meat – I assume this is already cooked meat.
When the iron hits, the red hot metal causes the juices in the meat to turn into steam, so there’s an initial puff, and then a steady smaller stream of steam from the edges of the iron (if you have an iron in the shot – or if this is stylized). The initial reaction of red hot on wet meat is violent enough that you’d also get a few particles being released at the initial contact. As the burn continues, the depth of the brand gets deeper, and the very edges of the brand are charred, but not in a necessarily even way. The burned area of the brand, although blackened, also has some specular highlights on it, due to it following the inner contours of the piece of meat.
Do a Google search for video of branding – you’ll find a bunch of real shots of what meat looks like after the branding – I had no idea people now have grill branding irons for their favorite college teams! Also do an image Google search on “branded meat” – you’ll find quite a few real shots of what the final look is, plus some really hokey approximations. Good luck!
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I know that with Audition 3.0, you can open the .ses file in your old version, save as to an XML file, then open the XML file in Audition CS5.5. Here’s an extensive discussion of the issue:
https://forums.adobe.com/thread/749838
I hope it works.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Have you looked at a histogram view either in Premiere (not sure if it has one) or After Effects? I’m wondering if AE or Premiere are opening the files in rather than a 0 – 255 scale, maybe a 16 to 245 scale, or something which greys out the blacks and whites? There may be preference settings which would correct this. I’m sure others who know more about this than I do will weight in, but it sounds as if this is the problem.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
No disrespect meant, Andy – I’m talking from experience as well – fourteen years at an ABC affiliate which could never get out of its’ own way in terms of organizing footage – stock or otherwise. The way they found all the years of stuff on tape? The chief photo had been there for 15 or more years, and could put his hands on any shot in the morgue. The tapes were somewhat categorized on the shelves, at least by year, then a label on the tape and a log inside, so there was always a good chance of finding what you needed.
What’s required of a keyword system is someone who manages, polices, and teaches that system, to the multiple users in the facility, who have neither the time, or often the desire, to learn anything new. Maybe Fox does things right – we had a system in place which would do exactly what you’re talking about – given the time spent to create keywords, then teach the “producers” fresh out of school why they should care whether you could ever find a shot again. We didn’t have “editors”, per se – that was a secondary job for the producers, photogs, and whoever else happened to be sitting around between newscasts. I’m glad the system worked for you – but it never can without a staff which is paid enough to care whether it does. Maybe in the major markets – we were in the Boston ADI – but that didn’t help. And we were a non-union shop, which meant that there could have been plenty of cross-training to teach the fine points of the AP automation system. The employees were too busy surfing the web, congratulating each other that a package made it to air, or reading the paper, to be bothered to improve their craft.
But bear in mind that in the world where the everything had be able to be digitized for several years, there were still tape ops on every news cast. The News department was deathly afraid of changing anything which showed a semblance of working.
I’ve been out of the broadcast industry for just over two years, and even in the years I was in broadcast, I used a keyword system to successfully track hundreds of thousands of graphics on our servers. I even created and policed the folder structure on our servers, but it was an uphill battle against those who always wanted the “Teds stuff”, “My Stuff”, and other inane nomenclature. On many shifts you had to know the folder structure of the graphic artist who was off to find the elements you needed. I’m saying there’s a perfect world, and there’s reality.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
It’s a very good point that keywording is a simple as drag and drop. The hard part is a keywording system which get created, then consistently used, by the multiple users in a broadcast facility. You’ve got Photogs cutting packs, you’ve got producers cutting packs, you’ve got anyone who happens to be on staff covering the weekend cutting packs and stories – unless one person comes up with the system to use, it will become a nightmare in a matter of days.
Case in point – the database used to log news stories for playback had keywords in it. In their skewed, knee-jerk logic (or lack thereof), the News producers called the first instance of the story “Hanover Robbery”. As soon as a suspect in the robbery was nabbed, the story, and clips were called “John Doe Suspect”, with no reference at all the “Hanover Robbery”.
While it’s all a nice thought, remember that this is a News department, used to running around like chickens with their heads cut of, and, as soon as a story airs, flushing their brains, so they have no thought in mind except what the next story is going to be. And don’t even talk about having an archivist (which is exactly what is needed to develop a good, usable keywords system). They use interns for producers half the time. The only big budget is for the News Director, Assistant News Director, and Chief Photog. Anyone else can make more at McDonalds.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Speed is far less important than functionality – I worked for fourteen years at a broadcast station whose main assets were, and still are, on tape. BetaSP, 3/4 inch, one inch, and DVCPro 25, not to mention some 16mm film archives make FCPX a decided non-contender in any station that still has its News and Commercial production assets on the cheapest format around – tape. Although accessing the file would be much easier if it were digitized, the massive amounts of redundant storage required would cost hunreds of thousands of dollars. A tape and a shelf to put it on is what does the trick right now, and considerably far into the future.
However for startups that have no archive to deal with, it could be a contender, if you can make it work with an inspect monitor for on-air checks, and the list of the many other detriments which have been bandied about endlessly on this forum.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
You might also want to be careful tossing the title “Cinematographer” around. You’re putting yourself in some pretty weighty company without having ever done a feature film, it appears.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Bob –
I think your best bet is to contact Adobe tech support about this. By the way, it is legal to install two copies of an Adobe licenses product (say for example, on a desktop, and on a laptop) as long as the two packages are not used at the same time. It’s an honor system thing, and a nice gesture on Adobe’s part.
I don’t see anywhere on the Adobe site where you can download older versions. It was really your client’s job to make sure he had a backup of the trial version, so all he’d need is the s/n to get back up and running. That said, I’m sure Adobe will be helpful. Good luck.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com