I realize it may not work for all, but with the lower cost of DS, ands the extra seat of DS soft you get with it, as a business model it is awesome.
Once we get a client in a DS room for a creative cut and then a finish, they are hooked.
I'm just saying… Works for us, your mileage may vary.
Tom
tom phillips
sr. creative editor, dir. of tech
kinetic post, inc.
248.799.0099 ph
248.799.0088 fx
From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf Of chris magid
Sent: 2009-11-16 12:37 PM
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] Re: And Now a Word About Online Finishing
Just a reality - fact check here.
My point wasn't that ALL projects are forcing editors to have complete command of all post production task or that this is right for ALL jobs. It wasn't that high-end, high dollar projects should put all their eggs in one editor's basket for every facet. IT WAS that some projects do require a dip into something other than cuts and dissolves but not a dive into separate processes piloted by role players on specialized hardware. For some firms this is the majority of their work, if not the majority work of being done in the industry as a whole.
If you finish the job...you are the finisher.
There is no reason for the tools already provided by Avid to be a limiting factor. They just need to work as advertised. Unless Avid wants their higher dollar products to be considered offline, pre-visualization tools or containers for other peoples software. This destroys Avid's workflow mantra, which is their main advantage in my opinion. Bouncing stuff around from tool to tool and person to person to get basic things done destroys their remaining edge and can also make a general mess of things. Even to DS.
Don't get me wrong. DS may a great machine and the right fit for intense jobs. However it is going to be relatively hard sell to recommend moving your sequence to DS via AFE for anyone needing post key color correction, soft shadows on alpha material or DVEs, clean soft edged effects or the ability to reposition,scale or rotate a pre-created graphic or picture.
Color correction has its own set of issues more related to INTERFACE than anything else. Just the ability to have more than 100 square pixels of interface to control half a million possible data points on a curve would be GREAT or some other way have more control over the many parts of "advanced color correction".
So tell me, what exactly is the 10K or whatever advantage of Symphony that is there because they didn't cripple Composer? And shouldn't any professional post production have some of these capabilities. Meaning Composer.
I have already listed these basic tasks in previous posts. I do not consider them advanced and my company would not hire an editor/artist that could not execute most of these tasks themselves. It would be no problem to go into greater detail and describe each and everyone of these tasks and their application. However, think I am beginning to beat a dead horse.
Doubt I would serious consider any editor for a job at my company who said anything like..."photoshop...whats that...never touch it" or "after effects...i leave all that graphic stuff to other folks"or "fix the color...don't you have someone that does that" or "effects...you mean like page curls?". We just don't have a way to employ to a pure offline editor and I suspect those positions are harder to come by than that of super high end specialists. Offline isn't even appropriate for some styles of work.
Not all color correction is destined for some over processed Soderbergh film. Not all effects work is having dinosaurs eat cars in a futuristic city scape. Not all graphic work is true design like building a complete show open.
Besides IT IS also POSSIBLE for people to have command of more than one specific area of post production. Maybe not all...but more than one. Really. A great competitive advantage in today's economy for personnel and manufacturers alike. It also maintains a purity of process and vision by not polluting simple tasks with additional labor or additional applications.
Chris MagidRTVF
--- On Mon, 11/16/09, switthaus <switthaus@mac.com <mailto:switthaus%40mac.com> > wrote:
From: switthaus <switthaus@mac.com <mailto:switthaus%40mac.com> >
Subject: [Avid-L2] Re: And Now a Word About Online Finishing
To: Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com>
Date: Monday, November 16, 2009, 9:58 AM
Indeed. Thankfully many of my agency clients still realize the value of a trained, talented colorist, a real sound design engineer, and a VFX specialist. Much is budget dependent, as more challenged projects will combine some of these functions, usually color and any VFX in a DS environment.
Interestingly enough, on the next gig I am doing, I am using a "colorist" but he happens to be using Color as his tool of choice...budget requirements and about 1/4 the hourly of a Spirit...and so it goes...
--- In Avid-L2@yahoogroups .com, "Terence Curren" <tcurren@... > wrote:
> This started with the adoption of the nonlinear editor. Suddenly every editor was supposed to be a mixer, graphic artist, etc.
>
> The old saying, "you get what you pay for" is still true.
>
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
------------------------------------
Search the offical complete Avid-L archives at: http://archives.bengrosser.com/avid/
Everything you MUST know about Color Correction in one book: http://tinyurl.com/ColorCorectionforvideo Get your copy todayYahoo! Groups Links
<*> To visit your group on the web, go to:
http://groups.yahoo.com/group/Avid-L2/
<*> Your email settings:
Individual Email | Traditional
<*> To change settings online go to:
http://groups.yahoo.com/group/Avid-L2/join
(Yahoo! ID required)
<*> To change settings via email:
Avid-L2-digest@yahoogroups.com
Avid-L2-fullfeatured@yahoogroups.com
<*> To unsubscribe from this group, send an email to:
Avid-L2-unsubscribe@yahoogroups.com
<*> Your use of Yahoo! Groups is subject to:
http://docs.yahoo.com/info/terms/
No comments:
Post a Comment