Survey Expanded Comments
The following are the expanded comments from the surveys which were too long to fit on the simple spreadsheet.
9-14-04 Avid MC 11.x, Feature, Theatrical, Unity
I’m very angry that avid seems to be letting support for the mac platform languish, and I don’t support this move toward built-in processor processing v. external, dedicated processing, e.g. meridien... but I’ve used avid for 11 years, and I’d still rather cut on it than anything else.
9-15-04 Avid MC 11, Feature, Theatrical, Unity
Mostly positive. I enjoy manipulating the sound, and mixing it for screenings; and the same with visual effects possibilities. Main negative aspect to computers is (obviously) less assistants, and less possibility for assistants to learn from others. Seems that each time someone has to reinvent the wheel, which isn’t helpful.
9-15-04 Avid MC 11.2 with Express Pro, Feature, Unity
Using Avid Xpress pro along with Film Composer allows me to cut at home when I feel like it, and on location at a moment’s notice when the director feels like it. This is both good and bad, but on balance it’s probably good. And the interchangeability of bins and media works perfectly.
10-1-04 Final Cut Pro 4.0, Theatrical,
I was called in on this project to ‘doctor’ the film, an animated CG film. The film had been edited in HD on Final Cut Pro 4 in China with an American Director and a Chinese crew and so communication was very complex. The files were sent to me sometimes via Fed Ex, sometimes over the internet, but as time went on the complexity of working this was became more and more cumbersome since they did not have a management system in place for the digital files being generated. If communication had been easier they could have downrezzed the files to Photo-jpeg files and I could have cut that way and sent the files back to them to be uprezzed in China, but after working on it for a month and trying to edit and retransform Sorenson files I finally recommended to them that they find a post production supervisor who could help them organize their pipeline and an editor willing to go to China, which I could not do because of my teaching schedule. The experience was interesting and I learned a great deal, primarily that I do not want to work on something that far away unless I have been instrumental in setting up the file sharing process from the beginning.
10-31-04 Avid Media Composer, Episodic, Network, No shared storage
The trend is clear - non linear offline editors are being asked - no, make that demanded - to do more and more, for less and less.
I work on a weekly episodic show and my first cuts are complete with titles, repositioned shots, music, full compliments of sound effects, looped dialogue tracks, and color corrected shots, if necessary.
I build complicated video effects and I have been asked to do an audio mix in my room for an audience test. When I mention the possibility of a mini – online, or a professional temp mix, or anything else I am always told there is no money.
But since I am doing all the video effects work ( well, most of it anyway) 90% of the audio work, all the picture editing and all the assisting (yet, I have no assistant) where is all the money that used to be spend in dialogue editing, ADR work, days in audio mixing, negative cutting and the like? They are certainly not paying us editors two or three times the money.
With digital technology and 48k audio, we are going to be outputting the edited shows right out of our Avid ready for broadcast.
10-31-04 Avid Adrenaline PC, MOW, Cable
Comment on experience: NEGATIVE!
The PC adrenaline is an adjustment for any Avid Macintosh user. But the real problem was that Keycode Media agreed to use old 9 gig AVBV drives that Granada (Television) owned in conjunction with the Adrenaline PC as its primary drives. It never worked and screwed up the Adrenaline for 2 weeks. When an appropriate 180 gig tower was finally brought in for the Adrenaline, Granada persuaded Keycode to try to link their old AVBV Avid to the Adrenaline using a “Lan” line (internet, not Avid LAN share). They actually finally got this to work, but it was not a great advantage since work could only flow in one direction – AVBV to Adrenaline- and only in real time.
One of the real nightmare experiences with technology.
Tech support: Note Keycode Media. Incredibly slow and unknowledgeable from the user point of view.
10-31-04 Avid MC Meridian, Pilot Episodic, Network
Comment on experience: Avid Meridian with a Nitris High Definition using DVCam for dailies is as good as it gets for TV, movie, series, whatever. I think it is still the very best way to go, especially when systems are linked with Unity.
Tech support: Runway is the vendor for pilot and series, Rick Lee is a sales person who bends over backwards for editors. David & Lupe are the tech support. Its been very smooth sailing on this gig. Everything works well or is replaced quickly. Good support. Good attitude.
9-14-04 Avid MC 11.x, Feature, Theatrical, Unity
I’m very angry that avid seems to be letting support for the mac platform languish, and I don’t support this move toward built-in processor processing v. external, dedicated processing, e.g. meridien... but I’ve used avid for 11 years, and I’d still rather cut on it than anything else.
9-15-04 Avid MC 11, Feature, Theatrical, Unity
Mostly positive. I enjoy manipulating the sound, and mixing it for screenings; and the same with visual effects possibilities. Main negative aspect to computers is (obviously) less assistants, and less possibility for assistants to learn from others. Seems that each time someone has to reinvent the wheel, which isn’t helpful.
9-15-04 Avid MC 11.2 with Express Pro, Feature, Unity
Using Avid Xpress pro along with Film Composer allows me to cut at home when I feel like it, and on location at a moment’s notice when the director feels like it. This is both good and bad, but on balance it’s probably good. And the interchangeability of bins and media works perfectly.
10-1-04 Final Cut Pro 4.0, Theatrical,
I was called in on this project to ‘doctor’ the film, an animated CG film. The film had been edited in HD on Final Cut Pro 4 in China with an American Director and a Chinese crew and so communication was very complex. The files were sent to me sometimes via Fed Ex, sometimes over the internet, but as time went on the complexity of working this was became more and more cumbersome since they did not have a management system in place for the digital files being generated. If communication had been easier they could have downrezzed the files to Photo-jpeg files and I could have cut that way and sent the files back to them to be uprezzed in China, but after working on it for a month and trying to edit and retransform Sorenson files I finally recommended to them that they find a post production supervisor who could help them organize their pipeline and an editor willing to go to China, which I could not do because of my teaching schedule. The experience was interesting and I learned a great deal, primarily that I do not want to work on something that far away unless I have been instrumental in setting up the file sharing process from the beginning.
10-31-04 Avid Media Composer, Episodic, Network, No shared storage
The trend is clear - non linear offline editors are being asked - no, make that demanded - to do more and more, for less and less.
I work on a weekly episodic show and my first cuts are complete with titles, repositioned shots, music, full compliments of sound effects, looped dialogue tracks, and color corrected shots, if necessary.
I build complicated video effects and I have been asked to do an audio mix in my room for an audience test. When I mention the possibility of a mini – online, or a professional temp mix, or anything else I am always told there is no money.
But since I am doing all the video effects work ( well, most of it anyway) 90% of the audio work, all the picture editing and all the assisting (yet, I have no assistant) where is all the money that used to be spend in dialogue editing, ADR work, days in audio mixing, negative cutting and the like? They are certainly not paying us editors two or three times the money.
With digital technology and 48k audio, we are going to be outputting the edited shows right out of our Avid ready for broadcast.
10-31-04 Avid Adrenaline PC, MOW, Cable
Comment on experience: NEGATIVE!
The PC adrenaline is an adjustment for any Avid Macintosh user. But the real problem was that Keycode Media agreed to use old 9 gig AVBV drives that Granada (Television) owned in conjunction with the Adrenaline PC as its primary drives. It never worked and screwed up the Adrenaline for 2 weeks. When an appropriate 180 gig tower was finally brought in for the Adrenaline, Granada persuaded Keycode to try to link their old AVBV Avid to the Adrenaline using a “Lan” line (internet, not Avid LAN share). They actually finally got this to work, but it was not a great advantage since work could only flow in one direction – AVBV to Adrenaline- and only in real time.
One of the real nightmare experiences with technology.
Tech support: Note Keycode Media. Incredibly slow and unknowledgeable from the user point of view.
10-31-04 Avid MC Meridian, Pilot Episodic, Network
Comment on experience: Avid Meridian with a Nitris High Definition using DVCam for dailies is as good as it gets for TV, movie, series, whatever. I think it is still the very best way to go, especially when systems are linked with Unity.
Tech support: Runway is the vendor for pilot and series, Rick Lee is a sales person who bends over backwards for editors. David & Lupe are the tech support. Its been very smooth sailing on this gig. Everything works well or is replaced quickly. Good support. Good attitude.
posted by ACE Admin at 5:18 PM
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