AC/DC, Coldplay, The Rolling Stones, Robbie Williams, Metallica, David Gilmour, Duran Duran, Placebo, Dixie Chicks, Zipperface, Beyoncé, Björk… You name them, James Tonkin has worked with them. In this extensive interview, he talks about the gear he takes on the road to shoot and edit concerts of the world’s greatest bands, and about his new high-end post house in London. A good read for anyone who is interested in camera gear and post production technology.
A couple of weeks ago we got a call from our friends at BlinkTV. They were heading to LA from London for a secret project and needed a Jellyfish for a massive edit they'd be doing with a super tight deadline. How could we say no?
Check out this feature in the latest Tao of Color issue with DIT Rich Rodman. He took a Jellyfish to WrestleMania a few months ago and was able to leave with the camera department. Yes you read that right... he left with the camera department!
Last month Scott Simmons from ProVideo Coalition called us about an upcoming job he had. He'd be part of a team of 5 editors working around the clock for over a week at one of the country's largest music festivals. The catch was that it was an Adobe Premiere job... "Do your servers work with anything other than FCPX?" he asked.
We get that question a lot, and it's not too surprising as the Final Cut community was really the first to embrace our products and workflow. To answer Scott's question, of course our servers work with Premiere, but We believe in showing not telling, so we shipped a Jellyfish to Nashville and his team got to work.
Today Scott published his experience on the front page of the PVC website. Have a read and let us know what you think.
Last winter we received a call from one of the biggest broadcasters in Europe, RTS (Swiss National Television) who were desperate for a shared storage solution that would allow them to stay on the Final Cut platform. For two years they tried nearly ever major storage vendor looking for something that could meet their needs; all the while on an OSX update freeze due to their aging XSAN's compatibility limitations.
Last month LumaForge CEO Sam Mestman and his film collective "We Make Movies" set out to test the limits of iPhone filmmaking. 5 teams had 36 hours to write, shoot, edit, and screen a 3 minute movie using only an iPhone as their camera. Once shooting was over all of the footage was loaded onto a single ShareStation Indie at the Santa Monica Apple Store and teams used FCPX and MacBook's connected over 1GbE to cut their films.
Oscar nominated director Chuck Braverman and assistant editor Patrick Southern used the first ever ShareStation to cut the high profile documentary The Secret Tapes of the O.J. Case: The Untold Story for A&E debuting this week.
Working with over 10,000 clips, the team chose to power their FCPX workflow with the ShareStation so they could collaborate across multiple machines in offices as far as 300' apart. All told they had 3 MacPro's connected over 10GbE and 2 Macs over 1Gbe which provided all the bandwidth they needed to work efficiently with the immense amount of footage.