Shane Ross
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No. It was just that your post seemed so… How do I put this? Tough to put it politely. Cult-like. It wasn’t just “I’m so glad I use this, I only paid once and it’s paid for itself many times.” It was like, “THANK THE ALL KNOWING APPLE FOR BEING SO TOTALLY AND UTTERLY AMAZING! It really is the software provided by GOD!” You might not have meant it like that, but it sure came off that way.
Shane
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Well, I too am happy I don’t rely on Adobe products.
Shane
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In my experience, in order to be hired as a “remote editor,” you need to be highly trusted by the company doing the hiring. So much, that they trust you to be able to work completely on your own, and only turn in cuts when done, and then take notes to fix. MANY places want to have you on site, so they can check in, sit with you, watch cuts as they progress. Plus they might be paranoid about sending out the footage in the wild to someone. They need to know they can trust that person to safeguard it.
I have done it, and I know others, but yeah, it’s with producers or companies that I have known or worked with for many years. Rarely do people hire people they don’t know to edit remotely. It does happen, there are sites that do this, but they are ones that need quick little projects done, and don’t pay nearly as well as you are hoping.
This is true when starting out too. You can’t expect to get the big bucks right away. It takes a while to learn the craft and know how to tell a story and how to use footage to get ideas across. Just like it takes time to learn how to build a house, or make a chair…fix or restore a car.
Pardon my brutal honesty here. Just wanted to let the reality of this be known. You CAN work remotely, yes. But to get the money you are wanting, and to be able to do it remotely, takes time and building partnerships and trust.
Shane
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[greg janza] “The fact that you were able to retrieve a project five years old is great. Does that really have any relevance in most post-production environments? no. A five year old project for most is ancient, out of date and irrelevant.”
Well, not really. I’ve recently had to revive a 10 year old project, one shot mainly with P2 footage, so that I could export sections of it for use on another project (and get the raw footage used in the cut by accessing the sequence and revealing in the finder on the drive). And a couple years ago, I had to dig into a project that’s 16 years old, all shot in DV. To make a couple changes so they could sell that project overseas. There’s a good reason I keep my 2008 MacPro up and running, with 10.6.8 and FCS3 on it.
Some feature docs take many years to edit. And some get revived for a variety of reasons.
Shane
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[Bill Davis] “Different business models. One that ensures (as much as possible) customer access to their creative work in perpetuity without any additional cost – and one that definitely does not.”
Hmmm…I see how Apple allows us to do that, by cutting loose a hugely popular editing application completely, and all support for it, and making a completely new one with absolutely ZERO pathway for getting projects from the old one to the new one. Zero. And they had zero plan to do that. They left that up to third party vendors to figure out, instead of helping their extremely loyal user base transition.
“Oh, but sometimes you have to totally burn down the house and start over in order to make the next great leap in technology!” Sorry, tired of hearing that crap. There was a means to convert projects, as evidenced in a third party app coming out to do that…but APPLE ITSELF couldn’t be bothered to do it. Just “F*** YOU…that’s old, this is new, this is better, get over it.”
Yeah…Apple was SO accommodating and so loyal to it’s user base.
I think Adobe’s “rental” policy is completely stupid, and I don’t subscribe to it. My kids do, but because they HAVE to. Photoshop is a requirement at art school, so they are chained in that manner. Personally, I like Avid’s way of “Buy a perpetual license, pay a fee to pay for upgrades and tech support…and those are available to us. But if you stop, you are stuck with the version you have, BUT IT STILL WORKS!” That I like.
Yeah, Apple has made an app that is amazing and great and PERFECT for so many many applications. And is what they needed to do. HOW they did it, sorry, that plus their history of killing things like SHAKE, make them highly untrustworthy. Glad you like them, but I trust them about as far as I can throw them.
Shane
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Except that I don’t “own” Avid or Resolve. Again, it’s that funky software license thing where we don’t own it, we only own the right to use it. Yes, even FCX.
Shane
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[Bill Davis] “First I OWN this excellent software, for which I haven’t been charged another dime since my initial purchase 7 years ago.”
As has been pointed out in the past, by several people….no, we don’t OWN the software. Even when it wasn’t subscription, we didn’t own it, we purchased the right to use it. Pretty much all software, from what I’ve been told. So yeah, while it feels nice to think that we OWN this software.
I OWN Avid Media Composer…and do pay for upgrade fees, to pay for such things as R&D and tech support, as they don’t have iPhones and iPads to suppliment that business. Oh, and I also OWN Resolve, which I’ve also never paid a fee to update, although not sure how they manage to afford that. Although, no, I don’t OWN them….as stated above.
And boy do I get my work done and get paid a hella-ton of money when I do….with a big fat old fashioned check. Seems you can get that no matter what NLE you use.
Shane
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What is the codec of that file?
And ever since Mac OS…hmm…10.9 or 10.8, if a QT file wasn’t ProRes or H.264 or some other MP4 type, The OS and QT couldn’t open it natively, it had to convert it to H.264 to open it. Because Apple dropped a lot of support for QT in order to move ahead with a different format, AV Foundation.
Shane
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I always manually adjust…i have far better control. I use Avid, and that has an AUTO DUCKING tool, but it’s TOO precise, I like doing it my way.
As for “broadcast standard,” It’s all up to each network, but some have -10dB as the peak, some want -12dB. Something like this is what I see:
• 48 kHz at 24bit
• Loudness: using full mix surround
• -24 LKFS +or- 1 for each SEGMENT (ACT) of the program material
• Using ATSC RP A/85 implementation for ITU BS.1770-4
• Surround: – 6 dBFS Max Peak (with true peak scale) & -20 dBFS reference
• Stereo: -10 dBFS Max Peak (with true peak scale) & -20 dBFS referenceBut I leave all that up to the audio mixer.
Shane
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OK, well…you can make sure your music is on only four tracks when you make the EDL. I make a practice of limiting my music to 2 tracks…THREE at most.
BUT…if you need a MUSIC CUE sheet… I have a better solution.
Export an XML, and get this INCREDIBLY AMAZING app that will bring in ALL your video, ALL your audio, and make a report of clips used, clip names, their in and out points, sequence in and out points, a list of text, audio cues. You can limit what audio tracks to select so you can make a separate music cue sheet
SEQUENCE CLIP REPORTER
https://intelligentassistance.com/sequence-clip-reporter-cc.htmlI swear by this thing.
Shane
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