Mark Raudonis
3
COW Coins
Forum Replies Created
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John,
One year ago we made the decision to upgrade from AVID to FCP. (Notice I used the word “Upgrade”) We now have 45 FCP systems on an X-SAN system doing both off-line, on-line and story department work. For what we do (reality TV) FCP is the right tool for the job.
Be aware that there’s much misinformation out there about comparing Avid to FCP. Do your own homework. This list is a great place to start, but their’s no substitute for just setting up a system and seeing for yourself.
I can tell you that we’ve completed close to a hundred hours of primetime programming from off-line to online. FCP works!
Mark
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Command F12. Make sure that “expose” is turned off or this won’t work.
Mark
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Scott,
Look at any of the products from AJA or Blackmagic Designs. They can do what you’re asking. Plenty of info on their websites.
Mark
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You say you don’t want any advice… so I won’t give you any. I will tell you to do your own homework. Anything you hear on either this or the Avid board is going to be colored by personal opinion. Test both systems yourself. Form your own opinon. Oops. That’s advice.
mark
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Check out Diana Weynand’s books. Great source of info.
Mark
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One of the primary causes for “sluggishness” in the timeline is having “dupe detection” turned on. Check ALL of your sequences. Even ones that aren’t open.
Turn dupe detection off. Also, if you have a “huge” project, turning off waveforms and thumbnails in the timeline may help.
Good luck.
Mark
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[Ren Hinks] “(3) When there is repetition in the various critiques, pay attention. “
Often you will find several people having different comments about the exact same spot in the show. Frequently, these people can’t articulate what’s bothering them, so you hear things like, “The music sucks”, or “I didn’t like that transition”. What I’ve found over the years is that they’re identifying a SCENE that doesn’t work. It’s your job to figure out why. They’ve just found it for you.
We always have internal screenings of every show before it goes out to the network. Everyone in the USA is an EXPERT on TV. We watch hours and hours of it every day. We know what works. What doesn’t work. What we like. To ignore these “experts” is to ignore a valuable resource to help you shape your show.
mark
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Mr MPE,
You’ve got me mixed up with that other guy named Mark…as in Burnett.
I work for Bunim-Murray productions. We’re the folks that bring you MTV’s “The Real World”, “Road Rules, “The Simple Life” for FOX, “Starting Over for NBC”, and much more.
The original question was, “How much do editors make on a cable show?” I would agree with most of the responses: it depends! On experience. On market. On budget. The quotes regarding union scale are a good reference point, but I’ve seen rates way higher and way lower. You really can’t make a general statement. Every year Videography magazine publishes a “salary survey” culled from a large data base. Look up their last one published and you may get a general idea. Also, the “Cow” and many other boards have job postings that occasionally will list a salary.
hope this helps.
Mark
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[Haze] ” Most employers don’t want to take the risk or spend money training someone. They need someone that can jump right in and start cutting.”
Not necessarily true!
When we threw out our Avids and switched to a Final Cut Pro system networked with X-SAN, we took the time and spent the money to train 45 former Avid editors on our new FCP systems. This wasn’t cheap, but it’s a confirmation of the concept that we hire “editors”, not button pushers. In “The Real World”, it’s always about story. I’ve NEVER received a call from a viewer who said, “That’s a great show… what kind of NLE did you use?”
This most significant factor in salary is the budget of the project you’re working on. The higher the budget, the better the rate.
Mark