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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Adobe support...

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As a working editor in Hollywood I think everyone should be warned that no studio will currently approve a Premiere Pro editing solution. They're BARELY accepting FCP workflows.

It's still AVID, AVID, AVID.

Premiere Pro enlists giggles and laughs amongst the brass. Trust me. I know. It's annoying and condescending. But it's reality. FCP still gets a raised eyebrow.

Just sayin'.
 
Man this is great news, CS3 is the best NLE Adobe has brought out, the first real contender. I still love Avid, but from someone who uses both regularly, I would have no issues using Premiere as an offline NLE tool, people's perceptions on the other hand are a different issue and have little bearing on the software's ability or suitability as a editorial tool for Red.

I'm glad the industry here in South Africa are not so hung up on a single system. A NLE is a NLE and a EDL is a EDL when it comes to your online conform. If you can get footage in, cut it and spit an EDL out, then it's fine as a offline tool in my opinion.
 
Robert Sanders said:
As a working editor in Hollywood I think everyone should be warned that no studio will currently approve a Premiere Pro editing solution. They're BARELY accepting FCP workflows.

It's still AVID, AVID, AVID.

Premiere Pro enlists giggles and laughs amongst the brass. Trust me. I know. It's annoying and condescending. But it's reality. FCP still gets a raised eyebrow.

Just sayin'.
Click to expand...

I think that was on my list of things to be concerned about. Right after the Sun will explode one day.
 
Robert Sanders said:
As a working editor in Hollywood I think everyone should be warned that no studio will currently approve a Premiere Pro editing solution. They're BARELY accepting FCP workflows.

It's still AVID, AVID, AVID.

Premiere Pro enlists giggles and laughs amongst the brass. Trust me. I know. It's annoying and condescending. But it's reality. FCP still gets a raised eyebrow.

Just sayin'.
Click to expand...
I agree with the perception part. I started on Avid and when FCP came rolling around, it was essentially a hobbyist software. Then it started to pick up momentum and Walter Murch used it on Cold Mountain, and suddenly, it became a respectable option, even amongst some of the Hollywood crowd. Charles Koppelman's book Behind The Scene is an interesting read, because it follows the struggles they had, including getting Apple to recognize the significance of what they were trying to do.

FCP is a good example though of what can happen if some key people implement a workflow. Murch, The Cohen Brothers, and others are high profile enough to lend some legitimacy to a product/workflow. If Murch was to decide that Premiere Pro was what he wanted to use on his next feature, and then other Hollywood editors followed suite, would the perception of Premiere change?

If you have clients that insist on using industry standard tools, then you have to accommodate that. If you have full control over your projects, then you go with the tools that make sense for your business. If you have a kick ass workflow using Premiere and After Effects and you are churning out good work, who cares about perception? If you have clients who must edit on Avid or FCP, then forcing them to use Premiere isn't going to work.
 
Digital Cinema Society Meetings of Interest To REDusers

Digital Cinema Society Meetings of Interest To REDusers

Digital Cinema Society Meetings of Interest To REDusers

#1): Our Northern California Chapter meeting on the evening of August 5th at Adobe’s San Francisco offices has timed out perfectly with Jim’s announcement here that RED R3D files will soon open natively in CS3 Premiere Pro and After Effects. As previously announced, this meeting will cover Adobe solutions for posting Sony XDCAM EX, followed by Adam Wilt and Art Adams sharing some of their findings after rigorous tests of both RED and XDCAM EX. However, in response to the new developments, we have arranged to first hear from Adobe’s Simon Hayhurst, who will share the latest details of their new RED workflow, as well as the Cinema DNG initiative, an effort to develop cross platform solutions for the nonproprietary exchange of Digital Cinema Camera RAW files.
This is certainly exciting news regarding Adobe's new abilities to handle RED footage, but it makes a lot of sense since Adobe have long been the masters of RAW workflow with still images, and RED utilizes similar technology, (albeit complicated greatly by running at higher frame rates).

Northern California REDusers are invited to attend and non-DCS members are welcome, but please mention it in the RSVP, so we can send you a link to an introductory DCS Free Trial Membership.

RSVP with your phone and e-mail contact to:

Trudi@DigitalCinemaSociety.org

#2) Another DCS meeting, which takes place in Los Angeles on the subject of Accessorizing Your Digital Cinema Camera will also be of interest to REDusers. On Saturday, August 9, 2008, from 10am-12pm at Plaster City Digital Post in Hollywood, the Digital Cinema Society will explore what it takes, and what is available, to build a high-end Digital Cinema Camera Package. We’ll look at everything from filters, matte boxes, follow focus, handheld rigs, and Break-out Boxes.*

Manufacturers invited to participate include ARRI, Schneider Optics, Zacuto, RedRock Micro, Toys4RED, and Element Technica. Vendors who are involved include Abel Cine Tech, SIM Video, and Birns and Sawyer. Attendees will also have a chance to see very impressive large screen projection of the RED shot demo material in the Plaster City Digital Screening Room.
Again, this is a DCS member event, but all REDusers are welcome; just let us know you are not yet a DCS member, and we will send you a link for a complimentary introductory trial membership. RSVP with “Digital Cinema Camera Accessories” in the subject line to:

Mathers@DigitalCinemaSociety.org

Interested REDusers in other part of the world should know that we record all of our events for later streaming from our website; so check back later and catch up on all the details.

James Mathers
Cinematographer
President of the Digital Cinema Society
Studio City, CA
 
Robert Sanders said:
As a working editor in Hollywood I think everyone should be warned that no studio will currently approve a Premiere Pro editing solution. They're BARELY accepting FCP workflows.

It's still AVID, AVID, AVID.

Premiere Pro enlists giggles and laughs amongst the brass. Trust me. I know. It's annoying and condescending. But it's reality. FCP still gets a raised eyebrow.

Just sayin'.
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Robert,

Just hearin'. :)

But as always, the pendulum swings.

-Thor
 
Craig Bowman said:
I think that was on my list of things to be concerned about. Right after the Sun will explode one day.
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Considering that based on your location, you probably don't live day-in, day-out by what is accpeted in the LA post community, this probably isn't a huge concern. :)

But, it is still a very valid comment.

Just as an example - I am writing this from a machine room inside one of the big studios in Burbank. Over to my right, they are dubbing an episode of a *current* TV show for delivery to a network... on D2.

Hollywood changes veerrrrrrrryyyyy slowly sometimes!

Lucas
-----
ASSIMILATE, inc.
LA, CA, USA
 
luki said:
Hollywood changes veerrrrrrrryyyyy slowly sometimes!
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*fanboy mode on*


Evolution killed the dinosaurs...

Or was it a huge punishing fireball from the sky.

Anyway, I heard that some tiny nasty mammals are in charge of the planet now.


*fanboy mode off*
 
luki said:
Hollywood changes veerrrrrrrryyyyy slowly sometimes!
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The nice thing is, we aren't asking for Hollywood to change at all. I personally could care less what they want or accept. Avid, FCP, Premiere, all different tools to get you to the same place. Personal preference. I've used all 3, and I have my preference.
 
John Allardice said:
When did they add xp pro 64 to the bootcamp lineup?...I thought the only 64bit OS it would accept was vista or vista ultimate?
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Works fine... on a single Mac Pro I've had XP 32, XP 64, Vista 32, Vista 64, Server 2003 32 and Server 2003 64-bit...

Not everything might work and it's of course not supported, but I could get it to work. Getting multiple OS'es on the same Mac Pro (and on different partitions) was tricky, but installing just a single 64-bit OS should be fine. Forget about getting the Apple drivers (so it's easier on a Mac Pro than on a Macbook probably).
 
Strongbad_2Z said:
The nice thing is, we aren't asking for Hollywood to change at all. I personally could care less what they want or accept. Avid, FCP, Premiere, all different tools to get you to the same place. Personal preference. I've used all 3, and I have my preference.
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You're absolutely correct if you are self-funding your projects or seeking private placement. If that's the case who really cares what you cut your show on?

But if you accept a co-production or any pre-sales (etc) from a distributor then every aspect of your production will come under scrutiny and you'll suddenly be on the phone with their CTO defending your decision to invest heavily in a Premiere Pro solution when they'll demand an Avid solution.

It's absolutely maddening. Trust me. I deal with it constantly.

I guess all I'm trying to say is that everyone needs to consider everything before investing heavily an "unorthodox" editing platform like Premiere or Vegas (and to some degree FCP).
 
Robert Sanders said:
As a working editor in Hollywood I think everyone should be warned that no studio will currently approve a Premiere Pro editing solution. They're BARELY accepting FCP workflows.

It's still AVID, AVID, AVID.

Premiere Pro enlists giggles and laughs amongst the brass. Trust me. I know. It's annoying and condescending. But it's reality. FCP still gets a raised eyebrow.

Just sayin'.
Click to expand...

Yeah. And that's a small part of a number of reasons everything the least bit interesting is happening far from Hollywood these days. I mean check out the credits on any "Hollywood" blockbuster. The films are made in Thailand, Singapore, Rumania, Russia, India, New Zealand, Canada, Bulgaria and so on.

Hollywood used to be the big innovator. Now its just...brass. The world is catching on and evolving real fast. Kids in India or Rumania knows how to do things that used to be Hollywood trade secrets. And how to do them better, cheaper and faster.

I do know what you're refering to though in terms of deals. I've had to sign contracts for pre sale productions for SciFi Channel and others and I've had terms like "Avid" and "P+S Technik Pro" on the list of demands.
 
Munthe said:
I do know what you're refering to though in terms of deals. I've had to sign contracts for pre sale productions for SciFi Channel and others and I've had terms like "Avid" and "P+S Technik Pro" on the list of demands.
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And no amount of logic and reasoning will change their minds.

I think Premiere Pro is a perfect fine NLE. A cut is a cut, right? But as an independent filmmaking trying to get his next project funded through a series of avenues, I can't take the risk of going against the grain so to speak.

And I was quite surprised that MGM agreed to let me cut Pink Panther on FCP (the new animated series).

Hopefully Apple will get those last few things together and wipe everyone's asses with FCS3. But I lose confidence as time goes on as Apple's Pro Apps division behaves more and more like Avid (we change the industry, the industry does not change us) and that definitely is not a good thing.
 
Munthe said:
Yeah. And that's a small part of a number of reasons everything the least bit interesting is happening far from Hollywood these days. I mean check out the credits on any "Hollywood" blockbuster. The films are made in Thailand, Singapore, Rumania, Russia, India, New Zealand, Canada, Bulgaria and so on.

Hollywood used to be the big innovator. Now its just...brass. The world is catching on and evolving real fast. Kids in India or Rumania knows how to do things that used to be Hollywood trade secrets. And how to do them better, cheaper and faster.

I do know what you're refering to though in terms of deals. I've had to sign contracts for pre sale productions for SciFi Channel and others and I've had terms like "Avid" and "P+S Technik Pro" on the list of demands.
Click to expand...

You're right and you're wrong.

They are *shot* in those countries, almost exclusively because of great locations, cheap labor costs, lack of unionization, and incredible tax benefits. The films are almost always post-produced in Los Angeles. Check out those credits again. Camera teams are local. Editorial, VFX, Sound, and Finishing are LA.

And the Hollywood community is still an incredible place for innovation. Of course there is innovation and smart people doing cool work in other locations!! But LA is still far and away the biggest post-production market in the world, with the highest concentration of talent.

Remember... RED is only 40 miles away from LA... ;)

Lucas
-----
ASSIMILATE, inc.
LA, CA, USA
 
sven said:
Mr. Flameop,

Does equipment and editing packages have to cost a fortune just to assure you , that it's valuable to use it....

I've got very good reasons to ask for this route because clients over here already know that avids and quantels won't last to much longer unless they really progress and make themselves THE tool to make your production amazing and standing apart from the rest...

It's like people looking at us in a strange way when we edited a musicvideo or commercial, ....now they're actually doing just the same...

But if i can get 4k playout right out of an adobe sys which does'nt cost me 250000 or 600000, that would be great and I can spend that extra fortune on one of the greatest projectors by now, i think the projector will last longer than your higher priced system would.

( This doesn't declares that I would'nt take another better route, when we need an efficient red workflow , but al least it seems very promissing and I'd like to thank Jim and his team for the great ideas he has been delivering us for about 3 years or longer since this forum came out....)

I understand your opinion, but I've always been one of the best to figure budgets out and getting the max out of my money. I've never regretted one business decision over the years and i've never been buying something that was out of date sooner than later..... So I suppose I'm pretty experienced with this kind of decisionmaking...
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Sven,

Totally see your point of view and good on you for taking this route..

Wasn't being dismissive at all. Tools are tools ;)

s
 
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