Out of interest, has anyone cut a 'major motion picture' on Premiere Pro
yet?
Rupert Watson
+44 7787 554 801
www.root6.com
-----Original Message-----
From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf
Of Steve Hullfish
Sent: 15 July 2013 12:51
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] crowdsourcing an answer
To be completely honest, the reason I wanted this done was because I am
writing a book and was thinking that the statistic would be easily had.
So the book answers the question of why. The answer to the question of
the statistics of these feature film and prime time TV guys is supposed
to answer the what. The book is mostly about workflow and the technical
aspects. I agree that the tool is not always chosen by the editor. Often
it's the studio, director, producer or post-supervisor picking the tool.
Thanks for any help that has been or will be given in trying to flesh
out the lists. If not, I already did the last three years and for the
purpose of a single sentence out of 100,000 words, I'm fine just using
the statistics I already came up with on the Emmy's and Oscars for the
last three years, which is all Avid except two Lightworks. No other NLEs
in sight.
Steve
On Jul 15, 2013, at 2:32 AM, Job ter Burg (L2B) <Job_L2@terburg.com>
wrote:
>
> On 15 jul. 2013, at 01:12, Jeff Kreines @ Kinetta <jeff@kinetta.com>
wrote:
>
> > Does it matter except to marketers?
>
> I was just trying to help out Steve. He's made a point of wanting to
complete this list, rather than having us debate the premise.
>
> Also, I feel there's almost too little debate about what people use
and why. NLE's have been developed for some time, then for the past 10
or 12 years, we have seen a lot of changes in workflow, but not a lot of
actual editing innovation in the NLE world. By that I mean new ways to
sort, track, organize footage and compose sequences. Stuff like
ScriptSync, and then preferably developed past its current state (which
is a bit cumbersome). We have seen the NLE become a commodity, with an
industry focus on jack-of-all-trades products, but no one really seems
to care about making changes to the way we work. Save for FCPX, perhaps.
>
> Avid is always slowly catching up. Same goes for Adobe, that have been
working really hard, and successfully, to make Premiere less
unattractive. Lightworks is being reinvented and rebuilt.
>
> > At this point, it's a tool chosen by the editor.
>
> Not really, not always. Yes, a lot of us have a lot of choice. But
when you are not a top-25 editor on a studio feature, you may very well
not have a choice. I heard a story of a well-known Oscar-winning British
editor who was being told by the producers that he had to cut on Avid,
even though he insisted on using Lightworks (he knew how to work both).
Turned out that the producers wanted him to work on Avid so that if at
any point they wanted to get rid of the editor (shit happens all the
time), they could fly in most any other editor and immediately continue
the work.
>
> Looking at the various annual ACE equipment survey lists also shows
choice not everyone has a choice.
>
> So if you look at Steve's list, it is interesting that there are quite
a few shows in there that were cut on Lightworks, by editors that are so
well-established that their position is obviously not to be questioned,
so they can surely pick their own tool of choice.
>
> On a smaller scale, I'm seeing the same thing happen. Established
editors can push for their own tool of choice, whereas less established
ones oftentimes will have to fit in a given workflow, without the power
to amend that workflow - even if they do know better.
>
> J
>
>
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