I do not immediately think about satirist Randy Rainbow as a Content Creator, but with a body of parody music videos that have hundreds of millions of views combined, he is obviously a successful Content Creator.
As an aside, I am totally jealous of his ability as a lyricist, but that’s another story.
In a recent CNN interview Randy Rainbow talked through the process he takes for each new parody music video. It turns out he shoots and edits himself, on Final Cut Pro X. (FCP X is for those who create for themselves, etc.) He makes his income from producing videos, so is he a “professional?”
There are not many performers with millions of followers/views that have complete control over their career. Certainly not in traditional media, but for those who want to create content finding their own niche and audience isn’t as impossible as it was to get to the top in “Hollywood” and be a star that way.
Sam Mestman weighed in on what’s needed to be a modern content creator in a recent article at FCP.co.
The Top Ten earners on YouTube earn between $15-22 million a year as Content Creating Entrepreneurs. Musical artist Troye Sivan started building his audience on YouTube when he was 13 living in Perth, Western Australia (not the center of the entertainment world). He just had his best year ever with a World Tour and new album.
When you bring the audience you end up with a lot more negotiating power when it comes to distribution, merchandising and marketing deals.
Not just content creators but entrepreneurs as well. But are they “professional” editors? Definitely not. Professional Content Producers, definitely.
While it’s not the first app we released, Sequence Clip Reporter has now been serving the Final Cut Pro, Premiere Pro and Resolve communities for 10 years! That’s an impressive achievement for a small Independent Software Vendor.
Greg and I are fortunate that we are able to make a decent income serving our community with tools that give them more time to do what they really want to do, instead of the boring parts of post. We’ve seen other ISVs move on to employment where they can get a more stable return for their skills. Being an ISV is a hard business.
Sequence Clip Reporter arose from a suggestion by our friend Les Perkins after I demonstrated some (now defunct) apps Greg had written. In those early days we had no idea what software helpers people needed, so we tended to follow up on most suggestions. Sequence Clip Reporter was an exception as most ideas turned out to fit a fairly narrow workflow.
Sequence Clip Reporter was created for FCP Classic, and we expected it to fade out over time, but with a little tweaking to accommodate Adobe’s custom version of FCP Classic XML, it’s now a valuable tool for the Premiere Pro community. It turns out Sequence Clip Reporter is the better of our reporting tools for Resolve as Resolve is a track based NLE.
Of course Producer’s Best Friend is our FCP X reporting tool that fits in where Sequence Clip Reporter does for Premiere Pro and Resolve. While superficially similar – they both produce all types of reports – the structure and the way the two apps work is remarkably different.
Happy Birthday Sequence Clip Reporter.
Comments off · Posted by Philip in General
The discussion in this episode started with a recent article in The Atlantic Your Work Peak Is Earlier Than You Think. Is it time to think of a career as an evolving series of “careers?”
After listening to the show, what you you think?
Comments off · Posted by Philip in General
When I think back to the days of editing tape to tape you had to both visualize how the series of shots were going to edit, but you also had to keep in mind and plan the current, previous and next edits at once. It was hard to go back and “trim” an edit! It usually entailed remaking every edit from that point!
With digital NLEs we make the changes instantly. We can go back five clips and trim an edit to make it flow better, without needing to reconstruct subsequent edits.
That flexibility has made it so much easier to edit visual stories. I certainly don’t miss those days, but has it reduced my ability to visualize the whole sequence, or doesn’t it matter?
Instantly preview and edit without that creativity killer: preroll alone is a huge step forward!
I’ve long struggled with a good way of expressing the diverse range of work that’s done under the banner of “professional production.” Then inspiration hit me at last month’s LACPUG meeting when I discovered that Blackmagic Design Product Specialist Shawn Carlson used to be a chef in fine dining restaurants: What if we compared the diversity of professional production to the diversity of professional food service.
There’s a very clear distinction between food prepared at home (hobby/amateur) and food prepared outside the home and purchased. There is no “prosumer” in food service, as indeed there shouldn’t be in production.
Professional food service encompasses a very, very wide range of experiences. From Michelin Starred and Fine Dining restaurants, through formal dining, casual dining, quick service, take out, all the way down to food trucks and hamburger huts. Wherever you work, whichever market segment the food service, there’s no doubt that everyone is in professional food service. They are professionals.
I have no problem equating the Studio Film (and high end TV) to the Michelin and Fine Dining restaurants. High cost, high value and a unique experience unlike other dining opportunities.
Fortunately for my budget they’re not the only type of professional food service, and “Hollywood” isn’t the only type of professional production. There’s a lot of different types of professional production as there are food service. Weddings, Events, Journalism, Corporate, Education, Social Media, Product marketing, Product Help, video catalogs, etc.
There’s not one type of “professional” in either industry.
Last Friday we released Builder 2.0, but we only sent out the press release today. Builder 2.0 works with FCP X XML as it always has, plus Premiere Pro XML from now on. Those who have followed Lumberjack, or my writing about it, from the start, this will seem like a major departure for a tool “built for FCP X.”
Lumberjack System has been exclusively focused on Final Cut Pro X. It’s a very natural fit as both use Keyword Ranges/Keyword Collections at their core, and that’s a hard concept to translate to other data structures. At the first development of Lumberjack System I said it “would be available for FCP X at first, then Premiere Pro and eventually Media Composer.” Obviously marketing never spoke to product development.
It became obvious we couldn’t easily replicate the Keyword Range/Keyword Collection experience outside of FCP X, so we decided to focus where we could do an excellent integration, leaving aside other opportunities where the integration might not be as complete.
There’s certainly been no disrespect to Adobe and Premiere Pro CC: via Intelligent Assistance Software we make a suite of apps for Premiere Pro, including Change List CC that is essential for feature film production.
As Builder developed we got a lot of interest in a version that worked with Premiere Pro. Philosophically there was no reason to not do it, because Builder takes XML from its host NLE and gives back an edited result to that host. Nothing in that workflow was incompatible with Premiere Pro.
When we researched we initially came to the conclusion that we couldn’t support Multicam Sequences from Premiere Pro, and I considered that a deal breaker in 2019. However, a casual conversation with Adobe’s Karl Soule pointed us in the right direction, so Builder 2.0 supports Multicam Sequences in and back to Premiere Pro as active multicam clips.
With some further help from Adobe Developer support we’ve been able to make Builder fully feature compatible between outputs: Temp Voice Over, Placeholders, and Closed Captions are all fully supported in both outputs.
The incredibly clever Dr Gregory Clarke worked out how to make one app work with both XML versions automatically, with no user intervention required. Start from Premiere Pro and Builder knows to send the output back to Premiere Pro. Start from Final Cut Pro X and Builder knows to send the output back to Final Cut Pro X.
Builder transparently works with both types of documents – even different types open at the same time – but cannot translate between input and output.
According to MESA’s SmartScreen news the two metadata standards bodies Entertainment Identifier Registry (EIDR) and Digital Data Exchange (DDEX) are working together to streamline music metadata with film and TV metadata.
“Music synchronization is an inseparable part of film and TV production,” Will Kreth, EIDR executive director, said in the announcement. He added: “This partnership will have a truly significant impact on all rights-holders. It may seem trivial to agree on standard IDs and common wording, but you can’t effectively measure or monetize what you can’t easily identify — and the truth is, even small inconsistencies can hold up payments of sync rights. We are excited to work with DDEX to make the whole process more efficient on all sides.”https://www.mesalliance.org/2019/05/06/eidr-joins-forces-with-ddex-to-streamline-metadata-standards/
It won’t make any difference in production, but for those working in distribution it will be important.
Comments off · Posted by Philip in General
A new episode of The Terence and Philip Show looks at what money can buy in production.
When we buy goods or services, we rarely consider the time cost that is associated with the purchase.
Which is more expensive: a wifi switch for $25 or a Dimmer for $46? At first blush, the dimmer seems more expensive, but when you consider that the wifi switch didn’t work after more than 40 minutes of trying to make it work, and had to go back costing additional time, it’s no longer that good value. Consider the dimmer took less than five minutes to install and configure.
At a nominal $30 an hour value on a person’s time, the “we never got it to work” wifi switch cost $45 and we got no value at all. After a refund that “cheap” device still cost $20 and we got nothing. The dimmer’s effective cost $48.50 it was still better value even if the other device had worked!
All too often we only consider price and never consider what it costs in our time and effort. Training is a great example. Back a few years Total Training had a comprehensive After Effects training course with over 40 hours of lessons. Most people didn’t realize they were making a $10,000 investment.
Forty hours just to watch the content once. To learn you’d need to watch at least twice, more likely three times. Then to work along and reinforce the learning would be another 2-3 times the length of the course. It’s reasonable to consider that you’ll spend a month’s working time on transferring the content on the DVDs to your brain, you only have to be on $2500 a week for the cost to exceed $10,000 in lost opportunity cost. The other alternative though, is to slowly fall behind because you’re not learning enough to keep up!
Learning new software is expensive. Upgrading an operating system – even one that incurs no direct charge – is still expensive as you lose 2-3 hours of productivity. If you’re a programmer it can take a week to get back to the same development environment. That free OS upgrade could cost a programmer $3-4,000 in lost income producing time.
Don’t be fooled into valuing your time at nothing.
At the end of every episode of The Terence and Philip Show I challenge our audience to “Do something creative,” but what do I mean by ‘creative’?
Creativity is a mix of randomness and restraint: extreme and editing. If there is no randomness, no sense of doing something different, then it’s hard to be considered creative! It’s equally easy to be completely random without restraint or editing and be unable to decide what is effective design or art. (More on those later.)
A long time ago in a country far away, I employed a graphic designer for some publishing work we were doing. I distinctly remember him generating three versions of an ad where he was unable to decide which was “best.” What was so odd, was that one of the designs clearly communicated content and mood better than the other two, which was immediately obvious (to me). He had random down, but lacked the editorial eye.
Creativity isn’t something exclusive to painters, sculptors and other practitioners of the “fine arts.” While they are a sub-branch of creativity, it is not limited to fine arts. To be really creative one has to be outside common bounds, while fine arts define common bounds!
Design is creativity applied to problem solving, which is why it appeals to me. Whether that problem is an icon design, a garden landscaping challenge or a new iPhone, the same skills of trying something new and different (randomness) combined with an editorial eye, work to solve the challenge.
It’s also beholden on the designer to be aware or changed opportunities: new tools, techniques and material make new opportunities possible. Applying those new solutions is definitely creative.
Art adds another dimension: passion. For about a year I shared a house with a college art student, David Middlebrook, now one of Australia’s more prominent landscape artists. Even then he had a very savvy understanding of “art” and had two working definitions, both equally true. “Art is what the art world will buy” and the much less cynical “Art is Passion.”
It doesn’t matter whether it’s a passion for people, for landscapes or for changing the world, Art is the expression of creativity with passion.
Bottom line: you can’t be conventional and creative.