" I am stunned by the number of "professional journalists" in the mass market that discuss the "main" NLEs and they NEVER mention Avid. "
As one of those journalists, let me point out several things. Of the writers who routinely cover film case study / editor interview types of stories, to my knowledge, I'm the only one who is a working editor. Some writers do more cinematography-oriented stores and those focus on cameras, lighting, etc. Second, trade press has little to do with journalism and a lot to do with making advertisers happy. That being said, I try to be objective and our publishing group as a whole tries to find interesting stories, whether tied to an advertiser or not. For example, Apple-related stories always have interest, yet Apple hasn't bought ads in trade magazines for many years, AFAIK.
I've probably done more stories specifically with editors than anyone else and always make it a point to talk about the technology. But the reality is that most film editors aren't power users of the system, as they are heavily supported by tech-savvy assistants and other post entities. Take "The Hobbit" as an example. Jabez is one of the more technically-oriented editors I've spoken to - and there you had issues with 48FPS and Stereo3D. But from the Avid side, it was cut at 24 and one eye. Mistika was used for the finishing.
Frankly, for most of the editors, there's not that much done in the edit than couldn't have been done with any NLE. So those answers tend to be the same and tend to be boring to readers. What's much more fascinating is how they solved certain creative challenges in the film's structure, length and storyline. Hence, when you ask the questions and write the stories, you focus on those items.
From a purely personal POV, I've cut films on most flavors or Avid, a Sony BVE-9100, FCP "legacy" and now FCP X. It's possible to do quite well with nearly an brand of hammer. ; -)
- Oliver
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