Last week, someone asked me why I haven’t posted about Final Cut Pro X. My first reaction was “Dude… you actually read my blog?” (Thanks, Mark.) Next, I questioned whether my opinion on FCP X would be different than any of the thousands already out there- and whether it would be worth posting. As it turns out… I’m a moderate in the debate- but that seems to be the minority.

I’ve edited in Final Cut Pro since 2001. I’ve built four systems surrounding the platform, often having convinced clients or employers to switch from other non-linear editing (NLE) systems. I love FCP, and decided to at least give the software a try before assuming what most of my colleagues have sworn to. Now that I’ve seen it, I totally understand their concerns. And there are quite a few of them. However, I also see a few things that could be the vague framework of a new take on NLE. It just isn’t ready for primetime- in fact, it’s 3 a.m. infomercial kinda ready. So ultimately, my future with FCP is a waiting game.

But I sort of have the time. Most pros don’t.

And that’s part of the reason why I think the future of Final Cut as a professional tool truly remains questionable. To get a sense of what I’m talking about, take a look at Josh Mellicker’s amateur-friendly blog post on DVcreators.net (a canonical site for digital video professionals). Scrolling through the comments, I found this:

I suspect that killing FCP7 is the thing that’s going to cause the most harm to Apple in the pro realm.

We were planning on upgrading our edit bays at work, and adding two more, here in a few months. New Macs, new monitors, the works, and of course we would have been sticking with Final Cut.

Except now we can’t. FCPX simply won’t work for us. The things missing aren’t features, they’re functions. We can’t go with FCP7 while Apple gets FCPX up to speed, because Apple pulled it – so there is no way for us to actually add those two additional bays.

Putting off the purchase until Apple fixes FCPX to at least be usable isn’t an option, either. Who knows when exactly that will be? Apple hasn’t actually made any official announcements about adding anything, except a few snippets they gave to David Pogue. Even if we had a set date, trying to delay this project isn’t really a possibility when you get corporate budgets and purchasing involved.

No, we’re getting new edit suites this summer. It just looks like now they won’t be Final Cut suites.

Yep. Herein lies the real disconnect on Apple’s part. The post world can’t sit around waiting for Apple to finish their product- and they have alternatives.

While the changes and omissions are frustrating, the anger among the pros seems to come from Apple’s total lack of information leading up to the release, and then subsequent scorched earth attempt to force everyone to upgrade by removing all prior versions from the market. It feels like a totalitarian move from a company that might have gotten a little too powerful in this business. Quite frankly, Apple’s mindset alone might convince post houses to switch to another product- even if upcoming releases of FCP X turn out to be as amazing as they claim the current version to be. Simply put: video professionals can’t rely on a company that’s “innovate or die” mentality disrupts their business model.

So, for me, switching to FCP X might be an option down the road for personal projects, but I’m not certain how long it will stay on my CV.

One day, posting videos I’ve produced will become tiresome. Today is the not that day.

Please enjoy the latest Fighter Pilots Media creation, the “I love my boss” campaign for NYPACE:

NYPACE is a nonprofit that helps out NYC entrepreneurs with business plans, marketing, etc. by hooking them up with pro bono consultants from Fortune 500 companies. Long story short, they stimulate New York City’s economy with small business growth and fresh products and services that might have otherwise been lost in the ether. So go show your support by giving them a buck or two.

It’s a 2-release kind of week. Here’s a video my company made for Luke Dick that hit the nets yesterday:

The song is available on iTunes now.

My company made a quick promo video for travel writer, historian and all-around wonderful guy Tony Perrottet and his new book, The Sinner’s Grand Tour. The book describes, via Tony’s charming wit and prose, a journey through some of Europe’s more salacious historical places. It’s a great read- buy it, read it and then travel the world.

Anyway, knowing that my incredible sales pitch is probably enough to make you want to read The Sinner’s Grand Tour, I will nonetheless post the video we made below:

When I first read about the Anthony Weiner thing, I literally thought “Yeah, that’s happened to me before.” Then I laughed because his name is “Weiner.” Then I composed myself. Let me explain…

Last year, I went to a place called Barcade in Williamsburg- a brilliant combination of cheap craft brews and 80s arcade games. I don’t want to sidetrack myself, so I’ll end the plug with: it’s the only place I’ve ever been to in Williamsburg that was worth having to go to Williamsburg.

So, I’m at this joint, and I want to show my friends that I’m a sophisticated, yet youthful New Yorker. I snap a pic on my phone, and upload it to TwitPic to send via Twitter. The result was the following:

I don’t know if you can tell, but that isn’t the inside of a bar that is also an awesome arcade. It’s a locker for some dude named Neal. Twitpic apparently swapped my photo with someone else’s- meaning that some poor user probably ended up tweeting a pic of some jerk with his beer-clenching fist above his head playing Smash TV (that’d be me). While this mistake was harmless (for me), I can’t imagine the explaining that I would need to do if the pic I tweeted were the business end of some guy’s underwear. Especially if I were a public figure.

I’m not debating whether the pic that Anthony Weiner sent out was intentional or unintentional, nor whether it was even his junk. I honestly don’t care. He isn’t even my senator. I just thought I would relay a little personal experience that suggests that, shockingly, a massive photo-sharing service that caters to millions of users and terabyte upon terabyte of uploads every day can generate a mistake.

[Update/Acknowledgement of fallibility: Despite not really trying to imply that Anthony Weiner was innocent, my giving the benefit of the doubt to the guy ended up being WAY off. Un-friggin-believable. I will keep this post up nonetheless, if for nothing more than the Twitpic story.]

When I was a schoolkid in Oklahoma, May was adrenaline. Literally days separated us from an inevitable 3 months of independence. The Friday before the warmest, longest and most anticipated weekend of the year.

It was also terrifying. The oldest class would be heading off to an entirely new school. Our teacher, love or hate them, would no longer be our teacher. And summer fights, hobbies, new wardrobes and boobs meant that many of us would change social circles the next school year.

May has always meant change- be it voluntary, natural or coerced.

Now that I’m an adult- the environment is different, but the patterns remain the same. May is an inevitable turning point for me. Even if not immediately actionable, it’s always the time of year in which I seem to explore new ideas, be them about myself, others or simply about the world around me. The thoughts I have in May consistently become actionable.

It’s always a very important time for me, and it still terrifies me.

That said, I can never anticipate what to expect. I long to reflect upon the considerations I will be making this month, but I simply don’t know what they are. The best I can do is recognize the introspection and share it. I think that’s important.

It isn’t scientific. It has nothing to do with media, culture or consumerism. It’s just a thought.

I could be completely wrong about this, but I’m willing to take a shot.

In January, a movie called Another Earth was acquired by Fox Searchlight at the Sundance Film Festival. It’s a really amazing thing to have happen, so congratulations are in order.

According to the trailer and synopsis I read, the movie is about a mysterious “second Earth” that appears within our planet’s eyeshot and, obviously, affects our lives. One woman’s in particular. It’s a movie, so none of this really bothers me- except for the visual selling point of the trailer:

Before I begin, here’s my disclaimer: As a hopeless unromantic when it comes to scientific phenomena in movies, it’s tough for me to approach an unrealistic premise without imagining the unintentional calamity that would ensue. It’s dark, but hey, so is the reality of the cosmos and life on Earth. We’re really, really fragile, and the most minor change could wipe us all out. Call it buzz kill, but I think of it as an appreciation for the here and now. But I can’t take credit. Some people have found that feature of my personality charming and, thus, are to blame for encouraging me.

The still above shows the second Earth floating peacefully near our own planet, with a full moon orbiting beside it.

So, what’s wrong with this picture?

First, the trees in the foreground, well, are in the foreground, and not submerged or on fire. And second, the sky is blue, meaning that the Earth still has an atmosphere. Earth has a little thing known as gravity. While gravity is a relatively weak force of nature (a 3-year-old can overcome it just by jumping), it’s pretty significant when you get to planet- and moon-sized objects.

Our moon is roughly 30 times smaller than Earth, and is located approximately 250,000 miles from it. Based on the screen shot from the trailer, the second Earth is located about half a million miles from our planet, meaning that the moon is located almost directly in between. Two planets of that size in that proximity would create a gravitational cage match that would end in no less than an annihilation of anything living on either. No romantic subplots; just sheer, unbridled carnage.

Here are a few likely highlights of the resulting devastation:

So long atmosphere: One would speculate that, because our planet’s gravity holds our atmosphere in place, an significant opposing force might start to attract our atmospheric gases and send them off to space. The result would be a significant atmospheric thinning, and a crappy day for everything that likes to breathe.

New (and changing) ocean front properties: The moon creates the tides with it’s gravity. As I stated before, the moon is tiny compared to the Earth. So, you can imagine what effect an Earth-sized pull would have on the tides of both planets. Tsunamis of hundreds of feet would likely be a normal occurrence while both planets are within close distance of one another, and tides would vary enough to make land within miles of the coastline uninhabitable. On the upside, deep ocean exploration would be possible for those of us besides Richard Branson or James Cameron, as the side of the Earth not facing the twin planet would have temporarily extreme shallow waters.

Goodbye, moon?: So, if the moon orbits the Earth due to gravity, and the other Earth is almost equidistant; which Earth does it orbit? The model would probably vary based on how, when and where the alternate Earth showed up, but the consequences might be the creation of a stellar slingshot or rock grinder. Imagine the moon orbiting our Earth, approaching the other planet, catching its gravity. If you’ve ever seen a pitching machine that throws tennis balls or baseballs, you know what happens next. The moon might be thrown outwards into space, or potentially into one of the planets. Alternatively, the gravitational forces might simply rip the moon apart.

Peeling off the crust: None of the aforementioned might be relevant to humans in the event of the last scenario, in which both planets’ gravities begin tugging away at each others’ rocky skin. The crust of both Earths would likely feel the force of the opposing planet, as would their mantles and all the stuff in between. That stuff, by the way, happens to be superheated rock, or magma. Volcanoes everywhere would spring to life, fault lines would quake endlessly and Roland Emmerich wouldn’t even have time to make a movie about it.

That said, I realize that, not having actually seen the movie, I could be totally off. Perhaps the filmmakers have created some clever device to make it all plausible. Or maybe they just don’t care. In either case, I concede.

Every once in a while, a writer or performer will show me something brilliant that they did for some company or producer, and admit sheepishly that they weren’t paid. They always claim the same thing; that they did it for the “opportunity.” Maybe they’ll get a paying gig out of it later on, and maybe not. The “opportunity” in the latter case was the chance to give a profitable asset someone who has little to no intention of making their life more sustainable. And yes, be it through publicity, in a pitch or just by taking credit for a part of it, that freeloading entity will somehow leverage the work to make themselves richer. All while the talent waits happily by the phone.

You know what’s killing the content industry more than anything? Creators who work for free.

Most of us who have ever exchanged our creative talents for pay have wondered how we’re so lucky to get to do this for a living. Sometimes that feeling of satisfaction leads to guilt, and subsequently a withdrawal from seeing that our skill is truly valuable to the person who has paid for it.

For the most part, I think that many creatives are the sensitive type. We wear something on our sleeve that most people keep inside of them, and we’re more vulnerable because of it. Our guilt, perhaps, is a realization that we’re happy when we work. I think that maybe many of us are afraid that being good at what we do for sustenance and enjoying it is an indicator of some sort of false premise of life. Pretty sad stuff when you think about it.

Thing is, creative talent is rare. Let me write that again: creative talent is rare. Yes, YouTube, Flickr and personal blogs are flecked with ostensible craft and brilliance- most of it created for free. However, the truth is that a lot of what you see and how you see it is on your head. You identify the best parts of what you want to emulate, and often don’t remember the incredible amount of bad you had to sift through to find it. Unless it’s a threat to you or so awful that it’s amusing, you won’t remember the terrible stuff quite as well as the good. You are wired to specify and remember things that keep you happy, motivated and inspired. It’s evolution. Your genes want you to thrive.

A person who can wield their creativity well enough to turn it into a craft has an asset. Just because everyone wants to be a creative professional doesn’t mean that they have the means to do so… and it also means that the talented shouldn’t have to struggle to survive just because of an uptick in impotent competition. If absolutely every content creator charged a livable wage for their work, the majority would never be hired again. When everyone gets paid, the ones who suck are weeded out and the talented persevere as creative professionals. By being talented and working for free, you’re essentially throwing the balance off kilter- ultimately turning the tables in favor of the (non)payee and screwing yourself not only out of this gig, but inevitably another gig down the road. The one that the other guy takes for free because he wants the “opportunity” you have.

The best way to avoid all of this is to always, always, always seek reimbursement for your work. And to encourage your colleagues and your competition to do the same. It’s the only way to keep the content world an industry for creators, and not just distributors.

Earlier this month, I produced several interviews for the National Council of Jewish Women. They’ve started posting them on YouTube, so I’ll be reposting them here.

NCJW is a fantastic organization and an absolute pleasure to work with. So happy we were able to do this.

A few weeks ago, my company made a music video for musician Luke Dick. You can see it here:

Excellent experience. So great, in fact, that we’re all getting together to do another one very soon.

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