Neil Goodman
Forum Replies Created
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People can throw down numbers on the internet all day but out on the streets, Im just not seeing it.
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Ive worked on a few content style trailers with talking heads giving quips about the movie/show.
Transcripts became invaluable through the revision process. Clients will ask for stuff that doesn’t exist all the time and the transcripts allow you to at a glance see whats possible way faster than I could ever skim through the footage or review my “tags”. I need an “s” sound to turn something plural that was once singular I can quickly see all the words that may work.
In my normal day to day of spots and trailers, transcripts are null and void but we use dialogue breakdowns (every sentence of the movie/show subclipped and labeled with exactly what it says and by who) to sort of achieve a similiar approach to finding stuff and forming cheats,
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[Scott Witthaus] “[Oliver Peters] “where two editors can SIMULTANEOUSLY work within the SAME timeline.”
I’m sorry, but this is a horrifying workflow, IMHO. Who the hell would EVER want that? Maybe I should just consider myself lucky never having had to work in a multi-editor workflow. I mean, outside of broadcast, where does this exist (not counting asst. editor tasks)?
“It happens in films and in trailers\ promo where people are cutting with offline/proxy material.
Someone would be able to simultaneously overcut clean dialogue in your offline while you updated notes in a different part of the cut, etc. Just one example as alot of times I have to do rough cuts with auio that contains music and sfx under the dialougue i want to use.
Hell, tommorow – since a client is asking for too many revisions to something that cant be handled in a sane workday by one person – two of us have to tag team it – we’ll split it down the middle, why does . that sound so far fetched?
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[Bill Davis] “But I don’t think that’s going to be enough to keep up with the pace of change.
Well, at least the change on the “general editing” side. There are certainly niches like motion picture or network TV where the workflow is pretty fixed and pushing change is really hard.
But out in the wider world of video creation, one way to meet the stress of increasing pace, is with more automation and enhanced throughput. “
You’ve been saying that for 7 years now, and really much hasn’t changed nor has FCPX helped to facilitate that large change in content any more so than any other NLE on the market and furthermore since adoption rates of FCPX at least in the markets I look at are basically null – seems like people are handling this imaginary content shift just fine with the other tools available.
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[Bill Davis] “A: Hardly anyone from the wider X communities come here anymore. It’s been too hostile for too long. It’s just us long timers left. “
I look all over the net for job postings, the cow is the last place id expect to find work.
Point taken – but this isnt close to the first time this type of specificity was in a job post.
Theres a whole bunch of people who wont look at resumes unless they have “bravo” experience, etc and the list goes on.
Also the workflow they are describing inst super complicated nor is the show. Anyone could figure out to multi cam and all the other specifics scenarios they called out on you tube in a couple hours.
To me thats the scariest thing about today’s Job market. Anyone can learn the menial tasks at home in their underwear for free.
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[Oliver Peters] “Yet, how many here on this list – or in general – actually work with assistants? “
I work with assistants and there are invaluable to me. As pointed out earlier, each editor will ask their assist unique tasks dependent on their organizational style. Also I rely on them for dialogue breakdowns and scene stringouts, and sometimes to do rough assemblies of scenes if Im working from dailies. Dont think a robot is anywhere near being able to replace them seeing as how specific some task are.
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btw this is the first job post Ive seen for FCPX in ages. Nothing else really indicates in the current climate that this will be “the shape of things to come”.
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sounds like most of that should be left up to an AE.. call me when its time to choose the angles ????
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[Andy Field] “Where is Bill Davis saying “you’re holding it wrong!”?
“to Bill’s credit – this is one area he admits X needs work on and has already stated as such in this thread.
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[Scott Witthaus] “You are looking at speed in terms of a race. That’s not correct. What speed does is allow time for more creative options to be tried. In the advertising world, I never found NLE’s made the rough cut phase shorter. Agencies still pushed to limit to air-date as they did in the linear days. What the “speedy NLE” did, however was allow us to try more ideas and versions. So they still booked the same amount of “Avid time” as they always had in pre-Avid days but we just got to try more things because of “speed”. In my mind, the inspiration comes out of the work. You don’t sit there with your feet up on the console waiting for the great idea to hit you like a bolt of lightening. You get material on the timeline and start crafting. The more efficiently you can do that, the better. If that’s speed, that’s better.”
Sure – but a-lot of threads on here are about I can do this operation this much faster with this many less key strokes. That part of “speed” is the one I dont care about. If your bragging about shaving seconds or even milliseconds of an editing operation than our goals as editors are very different.