Walter Biscardi
Forum Replies Created
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[Richard Cardonna] “So it seems that you know something about adobes plan that we dont?”
No, it’s rather obvious when you look at the business model. How do you smooth out the cycle of income so it doesn’t spike at one point each year? Subscription so the money is constant all year long. Just like us running our business and trying to keep steady work all year long rather than trying to make the entire year work off of one or two very busy months.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
I guess these debates will continue even though at this point we have, oh I don’t know I’ve lost track of the threads.
Ok, so I’m assuming all of you have ZERO monthly subscription payments right now. No telephones, no internet, no cable TV, no DirecTV, no netflix, nothing at all that requires you to pay a monthly subscription so the idea of paying a monthly subscription for software is 100% out of line for Adobe.
Do you every wonder WHY so many companies use the monthly subscription model? A steady and predictable cash flow. With the Once a Year payment model, particularly with a software release, there will be a huge spike of purchases when the product is released and then that will slow down dramatically for the next 11 months.
Look at your own businesses. How many of you could run your businesses by having 1 or 2 killer months and then 10 months with 1 or 2 very small jobs per month. I certainly couldn’t. I need to have steady workflow over the entire 12 months in order to keep the doors open and my employees paid.
Adobe is by no means the first company to explore this concept. By balancing out the ebb and flow of the yearly purchase cycles into a monthly subscription, Adobe can better manage their resources, put more immediate resources into engineering and release updates to the subscribers almost “on the fly.” Right now it seems they have to hold a bunch of updates to about every quarter so they can make some announcement of “New and improved 7.0.1 with these fixes!” to get some press so folks will do another round of purchases.
To call Adobe greedy and they’re gunning for our checkbooks is far from the truth. They’re simply adjusting their business model to keep up with changing times. I’m sure they will adjust their pricing models based on feedback, but the idea that subscription based Cloud is going to go away, based on the overwhelming positive feedback I’ve heard from editors both here in Atlanta and in Vegas, I don’t see that happening.
I’ll also point out, again, that there is nothing anywhere in this world that says you MUST use Adobe products. Apple, Autodesk, Avid and even Blackmagic have good editing products. We still run Avid in our shop for projects and Autodesk is on the horizon for installation very soon.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
The two things that differentiate AJA and BMD are
1 – AJA generally has much more realtime conversions on their cards. Like playing a 24p timeline directly out to 29.97 onto a display. Our BMD Extreme 3D card can’t do this via both outputs, and in most cases can’t do it at all.
2 – AJA tech support after the sale is generally better.
That being said, I’ve been having much better experience of late with BMD’s support dealing with them with Resolve. And as Tim just mentioned, if you want to use Resolve, well there’s only one product for you. That’s why we got the Extreme 3D in the first place because AJA and BMD can’t come to terms to allow AJA to support the product.
The output of the cards themselves are equal as far as I can tell. And in the case of CS6, ONLY the BMD card will allow us to output to tape, the AJA’s have not been able to do this, though I understand a lot of work has been done on this end with Premiere Pro Next.
You have to carefully look at the limitation of the BMD cards of what they can’t do before you purchase because we get so spoiled by the AJA’s literally just converting anything to anything on the fly that we don’t even realize all the work they’re doing in the background.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
In all honesty, we did a project about 6 months ago where we had a 720p / 59.94 timeline and within that was mixed in 1080/29.97, 720/29.97 and 1080/25 (PAL) materials.
Upon final render, we could not see any issues with the PAL media so we just left it alone. It may be because the material was progressive and not interlace, but there was no juddering, no flickering, nothing. We set Premiere Pro to Maximum Render Quality when we output the ProRes master file and it looked fantastic. We even projected it up onto our 7′ projection screen in our screening room and it looked great there.
So while I used to say ALWAYS convert in hardware, Premiere Pro’s handling of mixed formats is better than any other application I’ve used to date.
Of course Kevin’s link to the AE conversion trick is good too.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
[Ed Arsuffi] “I tried an HDMI solution too. One thing to keep in mind is the delay in HDMI processing. “
Yep, depending on the monitor chosen, this can be really bad. A professional monitor can generally be good with HDMI as the processing is much better.
For $300 or under, I would just go down to your local electronics store and see what looks good to you. As long as you have a true reference monitor that you know is accurate for your own color, the “pretty monitor” for the client doesn’t matter so long as you can dial it in pretty close to what your reference looks like.
We run 42 and 50″ Panasonic Pro Plasmas in our shop. Last time I looked I think they were getting sub $700 now.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
[Steve Brame] “How do you re-link media in the Media Browser? Is this a Mac-centric task? I have no option to do so in CS6 Windows. I do have the option in the Project Panel, except re-linking there merely re-links one clip at a time.
“It’s in the Project Panel, I probably said Media Browser reverting to my old FCP days. If you highlight a whole series of clips, it should bring everything back online once it finds the first clip.
Or quit the project and when it re-launches, it’ll ask you to find an offline clip. That should also trigger it to find the rest of your clips once it finds one.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
[Steven Cohen] “I thought I read in a thread or blog of yours that you decided to go with something else rather than Premier.”
We originally chose Avid Media Composer 6 but found multiple deficiencies in that version of the application that did not work with our workflow. I documented the entire experience right here on the Cow in this article.
https://magazine.creativecow.net/article/a-cautionary-tale-for-the-fcp-switcher
We then switched to Adobe Premiere Pro and while the ride has not been without bumps, it’s been a very good transition for the entire team.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
[David McGavran] ” I am not nearly as entertaining as Mr Mooney and I don’t have a cat shirt but I will do my best and hang around and answer questions after the demo. So”
Well fortunately for all of us, there is only ONE Al Mooney. Would be scary if there were little clones of him running around.
FYI, we will have Sir Al Mooney here in Atlanta demo’ing the new Premiere Pro Next on May 29th at the Atlanta Cutters. Hope you’ll be tagging along for that trip David, would be great to say “hey” since we didn’t see each other in Vegas.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
[Evan Thompson] “The preset that it is set to is “HDTV 1080p 29.97 High Quality”. That is what it is called. Beyond that I’m not to sure what the data rate is. I have not seen a data rate setting.”
When you scroll down the video tab of your Export window, you’ll see two Data Rate sliders. Target Bit Rate, Maximum Bit Rate. That will tell you what it is.
H264 can look amazing on televisions depending on how it is compressed and then played back. We use H264 often for computer generated delivery. But it is much more compressed than say ProRes or DNxHD.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
Hey Steve,
We made the switch whole hog into Premiere Pro after 11 years of FCP back in June of last year. I believe many of your questions and concerns are answered in a Workflow blog I wrote back in December.
https://www.biscardicreative.com/blog/2012/12/workflow-update-imac-adobe-and-the-x-factor/
The biggest thing for me was to accept that we could just work natively, there is absolutely no need to log and transcode any longer unless you really want to. Our efficiency jumped up exponentially when we just went native and even the clients noticed how much quicker we were able to turn around jobs. Or on the flip side, we could spend more time on the creative since we were spending less time on the ingest.
Take at a look at the blog and if there’s anything else beyond that, let me know, glad to help you make the switch.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People.