Mark Raudonis
3
COW Coins
Forum Replies Created
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Google Earth does have a “pro” version that allows you to create an “output file” of all kinds of “fly ins” or point to point zooms.
Don’t know what the pricing is, but it seems to me that’s your benchmark. If I can buy it from google for $100 bucks, you better not be charging $500.\\Mark
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randall,
May I be blunt? Who asked you for your critical opinion?
This is an infomercial… not a frickin’ Academy Award contender! Jeez. Give the guy some credit for a great spec spot!
Why don’t you post your latest project so we can all take a shot at it?
Mark
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If you haven’t already, you should read Walter Murch’s book: “In the Blink of an Eye: A Perspective on Film Editing”. Google it. It’s available on Amazon.
This is perhaps the most intelligent, articulate and thoughtful look at the editorial process I’ve every read. You can then ask your “superstar” how their approach differs from Walter’s.
Mark
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Matt,
Great comparison. We were going to do this on Monday, but you just saved me hours of work!
Thanks for posting for all to see.
By the way, you mention that you’ve formed an opinion… care to share?
It seems to me that with a little color correction, the quality of the images are very close. Which makes me place a higher consideration on things like the camera ergonomics, post workflow, storage, etc. Your thoughts on that would be appreciated.
Mark
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Have you ever worked with off-line RT?
We’ve been using if for the past three years. In fact, we’ve built our entire post workflow around it. Therefore, I have a “love/hate” attitude towards off-line RT. I can confidently state that you’re much better off “schlepping around” your three firewire drives than trying to round trip back and forth between full res and off-line res for just a two week trip. The amount of time spent “reconnecting” or replacing from one codec to another is going to be much greater than you can imagine. Then there’s the GRFX issue. Off-line RT is a 340 X 280 pixel size frame. You’re going to have “sizing” issues if you’re working with GRFX at this resolution.
Trust me when I say that you just don’t want to go there for such a short time.
Oh, and if you do decide to travel with those drives…. make sure you have a back up at home.
Mark
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Paul,
We’ve been working with an editor in another time zone for years. Her “local” drive has the exact same name as our SAN (and matching file structure as Shane points out). The media is an exact duplicate, and therefore, all she sends back and forth is a project with ONLY the current sequence. This works very well without much effort to reconnect.
Your feature suggestion is interesting. However, I’d rather Apple spent their time and resources getting certain aspects of the media manager working better before tackling something that already has a viable workaround (common drive names).
Mark
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Grinner,
I can see that you’re focused on “getting the story” first before anything else, and on that I agree. However, there are many roads to a final cut, and I would suggest a much different approach.
You place a lot of importance on a first string out to organize your coverage and focus the story. I’ve never been a fan of this step. I certainly watch everything and make notes about possible uses for each clip, but to put it into a timeline, brings you no closer to an actual “cut” than clips in a bin. Why? Here’s the crux of the matter.
You’re suggesting a “reductive” process where you “chip away” all of the bad stuff to leave the remaining “good stuff”. I take the exact opposite approach. I call it an “additive” process where I only put into the timeline that which I know I want to use. I ask the question, “What is the scene about?” and answer it by including ONLY elements that contribute to the answer.
This approach fundamentally changes your perspective from “what is there” to “what could be there”. I am building the pyramid from the bottom up, rather than whittling it down from the top. With this method, music becomes an integral part of the scene from the start. You have the ability to integrate a piece of music into a scene with much more control and “intent” that if you’re just “scoring it” after the fact. GRFX can be inserted as “place holders” or “Temp”, so you’re not wasting time on polishing early in the process.
In a nutshell, that’s my approach. Not saying it’s better… just different.
Mark
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[Danial Chase] ”
We would also like to share media between the 2 edit systems much like you are able to do with the Avid unity system. “You mention “like an Avid Unity”. They’re not cheap. Apple’s answer to Unity is called “XSAN”, and it’s equally as capable, reliable and proportionally expensive. For a larger install it’s a great solution. In your case, it’s probably overkill. For a small set up like you’re describing, you probably want a “SAN in the can” like the Facilis Terrablock or something like that.
Do your homework. Shared storage is never cheap, simple, or 100% dependable. Every product represents a compromise between cost and capability. Only you can decide what’s right for you.
Finally, have a back up plan. Every hard drive will fail. Every SAN will crash. What will you do when that happens? If you’ve planned for it in advance, then it’s just a bump in the road. If you put all your faith in the SAN working flawlessly, then at best, you’ll be disappointed, worse, you may be out of business.
SAN solutions are a growth business. I expect 2008 to bring many more options to the market. Good luck.
Mark
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Boyd,
I understand the intent of your comments, but since I’m one of those “hiring supervisors”, I wholeheartedly disagree with you.
First of all, no HR or legal department worth their salary would ever allow that kind of specific reply to an applicant. In this litigious world in which we live, that kind of detailed response is only inviting a lawsuit.
Secondly, I am inundated on a daily basis by many more applicants than we can possibly hire. The people who get my attention are the ones that have taken the time to know who we are, what we do, and what we’re looking for in an assistant or junior editor. It’s not my job to hold their hand to craft an appropriate application. The Darwinian theory is in play here. If someone is smart enough to craft a reel, application or website to get my attention, then chances are they will survive and thrive in our organization.
Finally, I work in a very collaborative, team based environment. The skillset required to make it with this work flow doesn’t show up on a reel. An applicant’s personality, communication skills, and attitude isn’t apparent from watching a reel. Those traits come across in an interview, which is why many people DON’T put so much importance on a reel.
mark