Neil Goodman
Forum Replies Created
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[Tony West] “Because they don’t know what they are talking about. They are working with a program that is working for them and they don’t have a reason to try something different.”
Thats my point – and thank you for punctuating it.
Editors need a reason to switch – a bunch of people saying “hey look its faster”, month after month for the last 7 years obviously hasn’t made a difference to them or overridden the bad rep it got at the start.
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[Bernard Newnham] “Do promotions producers in the US really pay for editors to sit and watch the show with them?
“Not that I know of – I think the post was implying that you’d watch/ breakdown the show on your own (and yes, be paid for that time) – and then discuss with the creative director the best ways to move forward.
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[Steve Connor] “So is Premiere making any REAL inroads into Hollywood editing? I’ve seen the PR around the movies that HAVE been cut with it, but it doesn’t seem like it’s done a great deal better than FCPX so far.
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Its used alot for marketing Hollywood features and TV – and alot of TV shows and indie films are using it.
Seems like Hollywood features have slowed down though. For example Deadpool 1 was done on Premiere – number 2, back to Avid.
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Heres a job posting I just saw for FCPX – this first one Ive seen in weeks.
LA Based Promo Company seeking both Non-Union Editor and AE medium-long term positions on 1-week commitments asap.
On-site 9am-7pm near LAX airport
Editor – Freelance Rate, $350-$450/10
PREFERRED: FCPX Experience or willing to spend 2-3 days learning at reduced rate (we’ll pay you to go slow).
MUST: Must have edited network promos and have examples. I.e. you watch the entire show, and with our creative directors, come up with the best direction for premise trailers. We cut everything from social content to full length broadcast specials.So this is about 400 less than the going rate for an averege promo editor. If your in demand your getting well over that.
Might be why we dont see that many people dropping everything to learn it. Just a thought.
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[Bill Davis] “Because if you want to speed and the enhanced productivity that X can give you – you have to ADAPT to it.”
I really dont think thats it.
I think its availability and not much else.
Most editors in the Hollywood system dont pick the software unless your a hotshot feature editor working on tentpole films.
If the shops switched – the editors would too – simple as that IMO.
Look at at all the Avid/ FCP 7 guys that had to go to PPRO basically overnight. It seemed to work out. IMO FCPX isnt that hard to wrap your head around.
Events/Vs Bins – Keywords/VS Reels&markers and a timeline thats stuck in ripple – until you override. Those are the biggest differences – the rest is well….editing.
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[Bill Davis] “It’s not the program – it’s the nature of the EDITOR. “
id say its the nature of the industry, not the editor.
Why would an editor take the time to learn something new if he never gets to flex that new knowledge or no ones going to pay him to use his new skills?
I bet your ass if all of the sudden – every shop switched to X – Editors would figure it out very quickly – or be poor.
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[Simon Ubsdell] “I’m going to say “timecode”.”
One of my biggest feature requests for FCPX is a proper Timecode window that has multiple lines of which I can choose exactly whats displayed and what I used to seeing in Avid.
Looks like Premiere Pro just got one finally. Looking forward to when our facility updates to the newest version.
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[Tony West] “He doesn’t want people to switch to it if they don’t want to, he’s just saying “did you know you could do this with it?””
I think part of the original post was to point out the fact – that after 7 years – someone of his stature has to have a demo and tell people,” hey look we can do that too, and it might work better for you. ”
That’s part of the problem – why after 7 years do people still doubt FCPX as a viable tool?
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[Andy Neil] “I had a friend who said they were using it over at Trailer Park.”
he might have been rogue or doing a one off project – but Trailer Park is a Premiere shop – who dabbles in Avid for specific clients.
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[Oliver Peters] “You need to get current. Our shop has 7 edit stations. All projects and media live on the NAS. Any editor can open any project at any time. The first editor to open a project has write permission to it. Subsequent editors who open it at the same time have read-only permission. You can toggle write control as needed among the users. You can also now have multiple projects open at once (like FCP7) and copy & paste/drag & drop between them. Yes, importing sequences via Media Browser is also still an option.
“I think we are gearing up for it 2018.1 at least – we all just had our OS updated to Sierra from El Capitan, lol. Surprised these old boxes even run Sierra. Looking forward to the new stuff for sure.