THE PRACTITIONER S VIEW in Software

Draw QR-Code in Software THE PRACTITIONER S VIEW

THE PRACTITIONER S VIEW
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track of the annual expenditures with a computer Instead of building a studio, I shot all my projects on location, using freelance lighting crews that owned their own lights Prior to being hired, my employers had brought in a consultant to submit an equipment configuration Their detailed estimate, based on traditional assumptions, came in at about half a million dollars** That was a lot of money But the argument in those days was that if you could amortize the investment in equipment in three years or less the equipment was a good investment In other words, my employers figured that I would be able to produce $15,000** worth of production in three years To break even Don t laugh; prior to the 1980s some electronic gear actually lasted longer than three years before becoming obsolete! Now, of course, a computer is obsolete before it s delivered In short order I proved to my employers that I could produce $900,000** worth of video per year in facilities costing less than $160,000** Done deal Nope No corporation moves as quick as a video producer The corporation went into its usual nickel-and-dime routine and I was out of there In less than two years I had worked out a plan to set up my own shop with less than a $60,000** investment, and I had that much in my new company s first contract My formula for amortization was more aggressive I was looking to amortize my equipment not over three years or even one year I wanted to pay for my equipment with profits from the first job! The 1980s introduced the commercial availability of relatively low-cost personal computers and a growing library of software For the first time, since prehistory, media-content creators could ply their trade on equipment that they owned themselves And in many cases, the investment in essential equipment could be recouped quickly, maybe not on the first job, but certainly after three or four If you were a savvy video producer in the 1980s you could see the revolution coming in a lot of ways Even if you weren t familiar with the project-studio trend in print production, you could still extrapolate from other technological developments
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**The formula used to convert 1980s dollars to present value is times two
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CHAPTER ELEVEN
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Small-format video began to replace more expensive film shooting and processing in TV news Audio technologies such as Musical Instrument Digital Interface (MIDI) changed the way music was produced and recorded and allowed for the growth of audio project studios, which began competing with traditional sound-recording companies, even putting some of them out of business Typically the owners of these project studios had worked in their larger, specialized antecedents, and could now apply their expertise and creativity toward businesses they could afford to own Technological developments in video also surged ahead, all of which took advantage of the accelerating improvements in computer technologies Video editing is a good example In the 1980s, video editing was extremely expensive compared to film editing, whereas video shooting was extremely cheap compared to film shooting Although a simple two-machine edit could be used to create a cuts-only production, competition with the sophisticated effects of film editing (which had the advantage of an 80-year head start in such areas as optical printing technology) drove video producers to demand electronic editing systems that were capable of video dissolves, wipes, titles, and other special effects To execute such a sophisticated video edit, several playback sources videotape playback machines, character generators, special effects generators had to be synchronized mechanically and electronically to a video tape recorder (VTR) This required a lot of expensive equipment, which could only be owned and maintained by large, well-financed companies These multimillion dollar online facilities charged huge rates of $500 to $1,000** per hour, including an operator (Film editing was going for about the same price per day!) Back then, the term online editing was derived from the unique capabilities of these media factories, which used sophisticated computers to control and synchronize all the various source and record machines An edit was said to be online when more than one video source was employed in the edit In an online session, the computer would read SMPTE code (an invisible pulse code developed by the Society of Motion Picture and Television Engineers) that was embedded
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