From The Creative COW Magazine|
Boston Massachusetts, USA
©2009 Tim Wilson and CreativeCOW.net. All rights reserved.
One project took four years, and included unprecedented interactivity, Java-enabled delivery of new material to network-connected Blu-ray players, and auto updating interfaces. This is not a problem solved by a $1000 software suite.
First, things are becoming cheaper and easier to use, lowering the barriers to entry for everyone. Second, things are becoming more expensive and complicated, making it harder than ever to even know where to begin.
We have a unique perspective on "cheap" here at The COW. When we began 14 years ago, a "low-end" system started at $50-60,000, which is closer to $75- 85,000 when adjusted for inflation. Is that a lot, or a little? Compared to a camcorder and a laptop today, a lot - but that's also around the price of a single high-end deck, or a few seats of high-end Blu-ray authoring software.
For my money (and it was my money), desktop video was not revolutionary until the Sony UVW-1800 Betacam SP deck enabled "cheap" broadcast delivery, at around $10,000. Today, the broadcast-standard delivery formats are Sony HDCAM SR and Panasonic D5 HD - decks priced like luxury cars, with more set-up menus than you might find in all of your software applications put together.
DVD software is ubiquitous, and even Blu-ray authoring can sometimes be quite straightforward and affordable. But only sometimes. Megan McKenna talks in this issue about managing thousands of assets on the 10-disk first volume of the "Neil Young Archives." The project took four years, and included unprecedented interactivity, Java-enabled delivery of new material to networkconnected Blu-ray players, and auto-updating interfaces to accommodate it.
This is not a problem to be solved by a module in a $1000 software suite. Apps that can do this kind of heavy lifting are often sold only with paid support plans. That's a good thing. It is the only way you can realistically use the software, and the only way that developers can afford to give you the help you will need.
It is easy to be swept up by stories about miracle cameras and software. We are big fans of miracles, but they rarely answer the question, "Now what?" They also do not necessarily speak to the fullness of our reality, that serious tasks require serious tools, and that a "breakthrough price" does not always equal "cheap."
Miracles are not enough by themselves, but neither is money. Here at Creative COW, we are also big fans of the creativity (naturally enough) that our members use every day to pull off their increasingly complicated jobs. In this issue, we have asked our authors to be specific with the details of their work, and the names of the products they use to do that work.
As a result, this is our most product-oriented issue yet. Knowing how other magazines handle product coverage, we understand that you might be skeptical, wondering if these stories are aimed at our bottom line, instead of yours. Our commitment to you is that every product that our authors mention in the COW Magazine has been bought or rented with their own money, at market rates. They pay the same price you do. They take the same risks. We are not aware of any other magazine that follows this strict policy, but it is the only way we can assure you that the success of our authors might truly contribute to your own.
In the meantime, we do not believe that things will "get back" to normal some day. You are looking at the new normal, today. The question is, "Now what?" Rather than look away, or try to hold the future at bay, we believe that honestly addressing the accelerating complexity of our lives offers hope. Together, we can welcome these changes, and use them to our advantage.
Find more great Creative COW Magazine articles by signing up for the complimentary Creative COW Magazine.
|Related Articles / Tutorials:|
Perfecting Audio: Professional Audio Apps for Your iPad
There's huge development going on for professional audio on iPad, whether for recording, hardware control for digital audio workstations, or music creation. Longtime audio engineer Keith Alexander looks at some specific options that audio pros will find indispensible.
Workflow That Plays For Keeps: How Netflix Is Protecting Stories' Futures
If you hope to distribute your work via Netflix, you NEED to know this, but even if you're only interested in the best thinking currently available about how to preserve your own work for an unknown digital future, this is a must-read. Kylee Peña, Coordinator of Creative Technologies & Infrastructure at Netflix, and co-authors Christopher Clark and Mike Whipple share insights on the origin of Netflix archival elements, the importance of color management, and how all this comes together to preserve creative intent -- insights you can start using yourself, today.
Editor Phyllis Housen on Shaping Sundance Jury Prize Winning Drama 'Clemency'
New York-based editor Phyllis Housen first fell in love with movies at a young age and had that love reinforced by a high school teacher who taught film history instead of English class. Her editing career includes both chapters in Tarantino's Kill Bill saga, and most recently, the drama Clemency, winner of the Grand Jury Prize at Sundance. She tells Kylee Peña about the connection between her skills as a drummer and storytelling, the evolution she's seen in the craft of editing, editing films shot in a language she doesn't speak, her use of Adobe Premiere Pro, and how she explains all the blood and violence in the films she edits to her parents.
Light From Light: Editor Courtney Ware on Returning to Sundance
Editor/Director Courtney Ware got her start in the industry as a PA, quickly working her way up to producer before her 21st birthday. After her directorial debut on Sunny in the Dark, she realized a pivot away from producing and into storytelling was in her future, and she got started on being an editor in between directing jobs. The first film to bring her to Sundance was Never Goin’ Back, and she’s back at the festival this year with Light From Light. Creative COW Manager Editor Kylee Peña speaks to Courtney about how her work in each role informs the other, and making her way in the film community from her base in Dallas.
Cutting Honey Boy: Mónica Salazar on Editing The Sundance Hit
One of the most anticipated films at the 2019 Sundance Film Festival, and one of the first features acclaimed as a hit when it premiered, Honey Boy is a semi-autobiographical story penned by actor Shia LaBeouf that spans a decade in the life of a child actor. It’s also the first feature film cut by editor Mónica Salazar, a Mexican immigrant whose story starts with a VCR in Monterrey and a dream to one day land at Pixar. She'd never even heard of USC Film School when friends first encouraged her to transfer in a story of hard work, collaboration, and mentorship.
Tips For Flying Drones In Cold Weather with Dirk Dallas
Dirk Dallas of "From Where I Drone" shares a bunch of hard-won, real-world tips for flying your drone in cold conditions. He talks about ways to keep your batteries warm, things to look for to prevent drone failure, and his favorite accessories for tackling the cold weather as a drone pilot.
Editing SyFy: Editor Shiran Amir on Rejecting Rejection
When talking about her career path, you get the immediate sense that rejection isn’t a “no” for Shiran Amir. There’s never been an obstacle that’s kept her from living her dream. From editing engine maintainence videos for the Israeli Air Force to assistant-editing local celebrity news, she packed up, moved to Hollywood, and kept doing whatever it took to reach her goal of editing scripted TV and film, experiencing lots of rejection along the way. "Reject rejection!" isn't just her advice. It's what she had to do herself, and in this remarkable story, she takes you on a journey that could be like yours if you reject rejection too.