Shane Ross
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Lately I’ve been delivering OP-1A MXF and it’s surprisingly simple, and low file size. 20GB for 46 min, 8 tracks of audio…very simple output. And yes, one network did relent and say they would take DNxHD as a deliverable, but I have four others who still insist on ProRes.
Shane
Little Frog Post
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I DID build a Hackintosh…and I can tell you I am very spoiled with having 5 internal drives (with room for 4 more)…two slots for ANY compatible GPU I want to put in there. With having everything (except my IO box and my RAID) contained in a small area, not strewn about and connected by squid-like tentacles. It is so nice to have it all in one place.
So while the iMac pro is tempting me, I’m waiting to see what Apple deems we need with the new MacPro…see if they are right, or like last time, very very wrong.
The main use for this computer, should I get it, would be Resolve, and the need to deal with and deliver 4K, so as nice as the iMacs specs might be, I’m concerned about GPU power, and heat issues. And I’d really like a bigger machine that allows stuff to be put inside it rather than a small machine with peripherals all over the place. Not sure how “feng shui” that really is.
Although really, the only thing keeping me running Apple is the damned ProRes deliverable. That and it is an easier OS to deal with, but really, it’s the ProRes deliverable.
Shane
Little Frog Post
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Yeah, those are the only frame rates available for AUDIO TIME CODE. As Michael said, audio doesn’t have timecode, but audio recorders will record timecode you set, but the only options for that are what’s listed…there is no 60fps timecode for audio. The closest is 29.97…but really, it should be determined by what the recorder was set to record…what frame rate was it set to?
Shane
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[Bill Davis] “the people who make “reality tv” are in it for one primary purpose – making MONEY. Full stop.”
Uhm…the people who make ANY sort of TV do so in order to make money. People who make commercials do it to make money, people who produce movies do it to make money. People who shoot and edit wedding videos do it for, what? Oh, money. Sure, to tell a good story, to entertain, but also to make money. So not sure what the point is here…this isn’t only limited to reality TV.
[Bill Davis] ” People who make money as their primary goal necessarily balance income vs expenses ruthlessly. An editor is an expense. Period. Full stop. Know that going in.”
This is true of ANY business. Bring in people, pay them as little as you can get away with. But if it’s a crucial role…such as a executive VP who knows the ins and outs of a certain business…or a CEO with connections, or a TV star with a large fan base…or editor in a reality TV show…then they need talent, and talent requires you pay them what they are worth. In reality TV, the story is MADE in the edit room. Yes, they do a lot of shooting, and in 95% of reality show, the shooting is pretty much scripted out (hope that doesn’t come as a shock), but the shaping of that story is done in the edit bay. And that 5% that isn’t scripted, a HUGE part of it is done via story producers and editors…getting past all that boring stuff, and making the interesting stuff look more interesting, more dramatic…digging into the material to tell the story.
That takes talent…and experience, which comes with time. But talent nuntheless, and that’s why a good reality editor gets paid well. Hire someone cheap…you’ll get a cheap show…a show that really isn’t any good. Try to hire talent but not offer what they are worth, and you’ll see that talent saying “sorry, but no” and moving on.
[Bill Davis] “They will pay you as LITTLE as possible – for as MUCH work as possible – every – single – time. “
This is true everywhere…but when it comes to reality shows, talented editors know their worth, and won’t work for companies offering beans. Sure, many editors will jump at it, and yeah, they will suffer long long hours and little pay. All in order to gain experience and to be employed. But the end product won’t be as good as it should. Well, not that it matters to many, they just produce any old piece of crap to throw on the air because people will watch it. As an editor who does cut reality, I can tell you, I’m amazed at some of the shows out there that actually have viewers. Boggles the mind.
I agree with most of what you said, Bill, just was taken aback by how you focused on reality TV’s primary purpose is to make money. Networks put TV shows on the air to sell ads and make money, and they want the widest audience possible, so they do everything they can to target shows to gain the audience, so they can get eyes on ads. Most networks don’t care how good the show is…only if it draws eyes and sells ads.
Shane
Little Frog Post
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MXF doesn’t compare to 422. Sorry, terminology issues. MXF is a video container type, like MOV is. MXF vs Quicktime. MP4 is another container. And then 422 is the chroma sampling type: 4:2:2. DV is 4:2:0, HDV is 4:1:1. ProRes is 4:2:2 as MOV or as MXF…
Shane
Little Frog Post
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Avid handles that bandwidth just fine. So should your computer. It’s not a compressed format like AVCHD, so easier to deal with.
What ProRes flavor did you convert to as the comparison? ProRes and DNxHD are comparable in size. ProRes 422 should be about the same size as DNxHD 145
Shane
Little Frog Post
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[Eric Santiago] “I really wished there was an option for a multiple Bins in Avid.”
What do you mean? You can have many bins open at once. You can even have one window with multiple bin TABS…I do this a lot, it’s called TABBED BINS…replaced what was called the SUPERBIN. I might have to get you a screen shot
Shane
Little Frog Post
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Open FX is the plugin set that works with apps like Resolve, Scratch…Vegas..
https://en.wikipedia.org/wiki/OpenFX_(API)
Sorry, Open FX plugins don’t work with Premiere Pro
Shane
Little Frog Post
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My bin structure is thus:
00_CUTS (folder)
CURRENT CUT (bin)
(If I have many acts, say a shared show…or just a long show, then I’ll have CURRENT ACT 1, CURRENT ACT 2)
zOLD CUTS (bin)
01_FOOTAGE (folder)
SCENES (bin – if scripted)
INTERVIEWS (bin – if doc)
B-ROLL (bin – footage shot by us)
ARCHIVAL (bin – stock footage)
FOOTAGE BY DATE (FOLDER – transcoded footage by day shot, and camera card)
GROUPS BY DATE (folder…footage grouped and sync’d)
02_STILLS (folder…containing bins by stock footage vendor, and ones for our stills, etc)
03_AUDIO (folder)
SFX (multiple bins – separated by type, ALL SFX, Transitions, HITS, STINGS…etc)
MUSIC (multiple bins by music genre, company we license from, etc)
TEMP VO (bin)
MASTER VO (bin)
FINAL MIX STEMS (bin)
04_GFX (folder)
ORIG GFX_TEMPS(bin – graphics made internally, temps, low res proxies)
ORIG GFX_MASTERS (bin – finals)
STOCK GFX (bin – graphics downloaded from stock vendors)
05_MASTER AMA BINS (folder containing individual bins of card offloads…original AMA linked media)With many other options depending on the proejct, but this is a basic layout.
Shane
Little Frog Post
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I’m wondering if they come across with FCP-X XMLs…they might. I’ll have to check…
Shane
Little Frog Post
Read my blog, Little Frog in High Def