Mark Raudonis
3
COW Coins
Forum Replies Created
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[Andrew Kimery] “”But then what happens to the people who own Avid shares?”
Did you watch, “The Wolf of Wall Street?” THAT’S what happens!
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Hi Anders,
Happy New Year!
I remember your posts from the earliest days of FCP/Xsan trying to make it all work. Those were interesting times, but technology marches on! As the saying goes, “When you see a fork in the road, take it!” We did, and it led us to a wholesale switch to AVID.
Good luck in the new year with whatever system you’re on!
Mark
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[James Ewart] “No buffering or delay like on Sky Movies or planes?”
No delay.
Seriously. Click and play.
RE: Renaming. AVID allows for renaming, since it maintains it’s own internal database to keep track of every object as a unique item. However, from a practical POV, we do NOT allow editors to do that. It would simply be too confusing for other team members to find something. Therefore, we maintain a logical naming system such as 1225A01CC = (Translation: December 25, A cam, 1st load, Creative Cow).
If you want to rename a clip “swish pan to CU”, then put that in the notes column! -
[James Ewart] “Does this really mean that 200 editors can be accessing the sam file for their edits concurrently? And all play back a timeline with a clip from that file in their timelines at the same time?”
Yes! That is exactly what that means. Media lives in ONE location. Anyone with access to the system can use that media AT THE SAME TIME. No copying, no moving, just find it and use it.
EVERYTHING that we do uses more than one editor. At the very least we have an editor and an assistant editor collaborate on a cut. More likely, it is 20-25 people all collaborating on a cut, an episode, a series. So, while most people debate the merits of the “X” timeline, or 4K resolution, I focus on shared workflow. This latest change in “shared libraries” is a step in the right direction, but there’s quite a long journey ahead for anyone to deploy “X” at scale.
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Joe,
You point out that other AVID users may have different experiences, and so I feel should offer up my experience as a counterpoint to what you’ve described. I don’t know the details of what precipitated your
issues, but I can only say that we simply could NOT do what we do (Large scale reality TV shows) without some form of successful project sharing.We certainly pioneered that workflow with FCP 7 and scaled it up to hundreds of users over three X-SANs.
When we chose to NOT use FCP -X we switched to AVID/ISIS 5000, and again scaled that to hundreds of users over multiple ISIS systems.You can criticize AVID for their conservative development pace on MEDIA composer, but as far as the ISIS and storage are concerned, it has been ROCK SOLID for years. It just works. Day in day out, with hundreds of users accessing multiple shows. I can’t even begin to wrap my head around how we’d do this with FCP-X’s scheme. Yes, I read the white paper from those folks in the UK. It gave me a headache.
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Ned,
I think you’re expecting too much from your transcription service. They’re NOT transcoders, editors, or data wranglers. Typically, you send them a file (usually a .mov) and they’ll send you back a word file with a transcription and associated time codes. The file you send is usually EXTREMELY compressed to make it email accessible. AVCHD doesn’t qualify for that.
Here’s who we use on a regular basis. Give them a call and see if they can help you. But I think you have to have realistic expectations of what they can do for you.
mark
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This “fair use” debate has come up regularly over the years in this forum. The above explanation by the lawyer is probably the best, most concise, realistic interpretation I’ve seen.
The take away from this explanation is the word “defense”. It’s called the “Fair use Defense”… not a license to steal copyrighted works! So you just need to ask yourself one question, “Do ya feel Lucky? Do ya?” Chances are you will get sued, and good luck with your “defense”.
So, despite Shane’s and Andrew’s examples of what they got away with… I’d be EXTREMELY cautious about including unauthorized copyrighted clips in your documentary.
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I guess Bob’s NOT getting invited to the @Radical Christmas Party this year!
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[Craig Seeman] ” I think, will be people/facilities having a primary and secondary NLE coming into play as needed. “
Don’t think so!
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.
Add into the mix the issues of archiving and “reactivating” old projects and it’s a total cluster F*&K!
Perhaps in a small shop the notion of “right tool for the job” may prevail, but the larger the team, the more important it is to stick to one platform or the other.
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[James Patterson] “then there would be very little for anyone to give their opinion on.”
And that would be a BAD thing?
I respect the creator, NOT the critic.
Mark