SAE Institute

Amsterdam

Assignment 203.1

Comparative Article Report

Better, Faster or Cheaper: Pick Any Two?

Student Details:
Eavan Aiken 19th September 2009
AMS-500890 Word count: 3162
BFM707

Submitted in partial fulfilment of the requirements of the BA (Hons) in Film Making Degree
 Eavan Aiken BFM707

Table of Contents

I. Table of Contents................................................................1

II. Introduction ...................................................................... 2

• Overview
• Who, What and Why

III. Individual Analysis ............................................................7

• David Roth Weiss

• Bill Desowitz
• The Edit Bubba

IV. Compare and Contrast ………………………………………………….8

• The Quality of the Sources

• The Claims

V. Conclusion ....................................................................... 12

VI. Figures ……………………………………………………………………….14

VII. Web Links …………………………………………………………………..14

VIII. Bibliography ...................................................................... 15

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II. Introduction

Overview

The audiovisual industry is in a healthy state and still growing. The reduction in cost

of creating broadcast quality content has boosted the production of video even in

countries with marginal film industries. The numbers of screens has risen

phenomenally; there are screens on trams, the metro, on telephones or portable

media devices. This in turn has provided both professional content creators and

hobbyists a place to show their work.

The old adage ‘Good, Fast or Cheap: pick any two’ is regularly heard in audiovisual

production and post-production houses all over the world. With the advent of ever-

cheaper hardware and software the relevancy of the statement is increasingly being

called into question.

Fig. 1.1

To understand where this adage came from we need to think back to the early days of

this industry. Film and television production were once fields with a long learning

curve, requiring aspirants to work as an apprentice under the wing of an old hand.

The reason for this was very simple; the equipment used was extremely expensive

and very often complicated in its operation. Not only did a device have to be

mastered technically, it also had to be mastered artistically. It’s quite understandable

that apprentices were not allowed to operate these machines without supervision.

This industry requires many different experts all working together at the same time

like a well-oiled machine. If one person fails in his part it causes the whole

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production to grind to a halt. In a producers eyes this means paying people to stand

around doing nothing and the potential profit is very quickly diminishing.

If we fast-forward to the present time we see that the industry has been

democratised, insofar as everybody has access to inexpensive software, which

arguably can do the same job as once unattainable machinery. Any fifteen-year-old

with a relatively powerful computer and a cracked version of an editing software

package can throw together an edit. This is a double-edged sword; on the one hand

the playing field is levelled and anyone can call himself or herself an editor but on the

other hand competition for jobs is fierce, made all the more noticeable in these times

of economic downturn.

For this assignment I chose to focus on the audiovisual post-production industry and

the relevancy this adage now has to people currently working within it or closely

observing it. I will begin by how and why I chose these particular articles. I will then

summarise each article individually, after which I will compare and contrast them.

Who, What and Why

Art Directors, Producers, Directors, friends, husbands, wives, moms, and dads: most of

us fit into at least one of those categories.

(Edit Bubba, 2009)

I chose three articles that mentioned the phrase ‘Good, Fast or Cheap’ and are related

to audiovisual post-production. Two of the articles are from professional

publications, one by David Roth Weiss from the Creative Cow Magazine and the

other by Bill Desowitz from Animation World Magazine. The third article was from

the personal blog of a freelance editor and motion graphics designer who goes by the

handle of Edit Bubba. I chose an article from a blog as this form of communication is

considered to be the future of journalism and is based on the philosophy that there is

no such thing as an objective point of view and therefore subjective reporting is more

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honest. I also chose to analyse a blog as they’re used more and more as points of

reference in this industry and I will highlight the caveats of doing so in this report.

Two of the writers are currently working as independent freelancers in post-

production and the other writer, Desowitz, is a journalist in the field of animation

and visual effects (VFX) reporting.

Two of the articles were written in the year 2007 and the Edit Bubba’s blog was

written in 2009 and so they contain current views.

III. Individual Analysis

David Roth Weiss

Article Title: ‘Cheaper, faster, better – how about smarter?’

The old paradigm suggests that, no matter how much cash, personnel, or resources are

thrown at a job, something has to give.

(Roth Weiss, 2007)

David Roth Weiss is one of the initial members of the Creative Cow, a highly

respected forum for those in the audiovisual industry. He has been in the business

for thirty years, primarily in post-production and directing, and is the principle of

DRW Films. His experience includes working in Hollywood as a creative and a

businessman, which affords him an in-depth view of the industry.

His article was featured in The Power of Artistic Passion issue of the Creative Cow

Magazine published in May/ June 2007. The article questions the current relevancy

of the ‘good, fast, cheap’ adage and begins by highlighting the drop in price of the

equipment needed to run a post-production facility.

The good news is that we seem to have finally achieved the true technological

democratization of the industry that we’ve all been waiting and hoping for.

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(Roth Weiss, 2007)

He goes on to lament the loss of good pre-production, conceptualization and

scripting and points to the pressures that this places on the post-production phase.

To illustrate his point further he recounts a recent tale from a low budget feature

production where the shooting ratio was about two-hundred-to-one, a ratio more

acceptable in documentary shooting. The producer claimed that this way he is

guaranteed have something good in there.

He rounds off the article asserting that it is possible to work cheaper, faster and

better but that smarter should be an addendum to update this old cliché.

Visionary thinking, conceptualization, logistics, and most important, great writing, will

always be the mainstays of great media.

(Roth Weiss, 2007)

Bill Desowitz

Article Title: ‘VFXWorld Survey: What to Expect in 2007’

Bill Desowitz is a journalist and senior editor of the Animation World Network. He

has been writing about the film industry for 25 years, according to his LinkdIn

profile.

His article is based on a poll of post-production professionals concerning technical,

strategical and business aspects of the industry, focussing on the coming year.

The article concentrates on some of the highlights taken from this survey. The first

respondent mentioned is Mat Beck and whom Desowitz affords the most column

space among all the respondents. Perhaps this indicates the esteem that he places on

Beck’s opinion. Beck is the president of Entity FX, the company that is responsible

for the post-production of the television series Smallville and the feature film Into

the Wild. He believes that the ‘cliché’ ‘good, fast or cheap: pick any two’ has become

outdated. “The new mantra seems to be `Better and Faster and Cheaper or

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Somewhere Else; Pick One’.” (Beck, 2007) Beck cites the reasons for this paradigm

shift as being the ever-falling costs of the technology. “The good news is that the

hardware and, to some extent, the software continue to get better/faster/cheaper as

well.” (Beck, 2007) Beck also refers to the pre-production process as a ‘bucking

bronco,’ meaning that last minute changes in the script cause pressure on the

planning of special effects. ‘… Sophisticated visual effects work benefits hugely from

some design time and planning and attention to quality in shooting the elements.’

Beck is in favour of tools that allow him to pre-empt these potential problems. He

utilises ‘previs’ (pre-visualisation) via broadband communication to lock the script in

advance of shooting for visual effects.

Fig. 2.1 Previs from the Chronicles of Narnia

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Previs is the 3D equivalent to a graphic designers mock-up, where a graphic designer

may use mood boards and hand drawn designs to illustrate the concepts to clients

the visual effects artist can create a low-resolution or wire-frame animation to show

the potential of a particular approach.

The rest of the article gives shorter accounts from other industry experts most of

who, each in their own way, request more time be spent on previs. ‘… if time allows, I

try to get a concept sketch (sometimes 3D) in front of the client for early

clarifications and approvals.’ (Gabl, quoted by Desowitz, 2007). There are also

discussions about the software used, techniques and the need for better training, all

to aid the speeding up of the workflow.

The Edit Bubba

Edit Nation Blog: The Good, Fast and Cheap Rule

Whatever you might think, you have not thought of everything.

(Edit Bubba, 2009)

The Edit Bubba is a freelance editor and motion graphics designer who blogs about

his professional experiences anonymously. The anonymity protects him from

litigation, in my opinion, as his views can be scathing. His subjective writing style is

informal and uses colloquialisms. This article addresses potential employers and

editors, and gives advice about how to go about the business of freelancing.

He agrees with the ‘old producers saying,’ good, fast or cheap: pick two. ‘If it were

any different, we’d probably still be working with slaves.’ Slavery is the theme of his

article and uses an analogy from the construction of the pyramids in Egypt. It was

once thought they were built by forced labour but archaeological discoveries of

craftsmens’ inscriptions suggest a pride in the work more likely attributed to free and

paid artisans. In my opinion, he clearly identifies with both positions of slave and

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artisan. His tone is one of frustration. ‘The truth is that more than one seemingly

willy [sic] producer has skirted the good, fast, cheap rule by promising better

conditions on the ‘next’ job and hopping from one post-house or editor to the next

hoping to stay ahead of their sinking reputation.’ The Edit Bubba has clearly been

burned and this is what prompted the writing of this particular blog. He has some

very valid suggestions for the burgeoning freelancer, such as charging by the hour.

He also sells this to the potential employer ‘you will probably still get a better deal

paying by the hour because a person who knows that they are being paid for their

efforts is not easily going to be able to rationalize doing a crappy job.’ I must admit

that I was attracted to this article because I can identify with the Edit Bubba. I have

directly experienced both a producers desire for good and fast and cheap, heard the

phrase ‘just get it done’ and have had clients promising the world on the ‘next’

project. I believe that this is a part of the learning experience of a recent graduate and

part of the baptism of fire of working freelance.

IV. Compare and Contrast

Now that I have discussed the motivation and experience of each writer and outlined

an overview of the content of each article, I will proceed to compare them to each

other.

I have created a quick look-up table (below) that outlines an overview of the

preceding information for reference.

Table 3.1 Quick look-up table

Name: EditBubba David Roth Weiss Bill Desowitz
Role: F/L Editor Dir. / editor Writer/editor of VFXWorld
Industry: Independent Independent Journalism
Publication: Personal blog Creative Cow Magazine Animation World Magazine
`Better and Faster and Cheaper or
Content: Freelance work Working smarter Somewhere Else; Pick One.'
Agree: Yes No No
Date Written May 5th, 2009 May / June, 2007 Jan 29th, 2007

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I will first compare the quality of the sources information and then look at the claims

of the articles.

The Quality of the Sources

David Roth Weiss is an industry veteran with a filmography on IMDB (Internet

Movie Database) the industry bible. He is also well published, especially in the

Creative Cow Magazine. He has experience and the credentials to back up his writing.

Bill Desowitz is also a veteran of the media and according to his LinkdIn page he has

recently been promoted from editor of VFX World magazine to editor of its parent

company Animation World Magazine. The Edit Bubba is an enigma. As far as I could

find on his blog he does not reveal his identity. Therefore his writings cannot be fully

verified and referenced. I chose his article for two reasons; the first is to encourage

discernment in readers who use this sort of blog as a reference; the second because I

responded to his article personally. His honesty in outlining what he has been

through and his suggestions on how to avoid the same mistakes are helpful to the

reader even if his anecdotes should be taken with a healthy measure of skepticism.

The presence of his article in this report provides a counterpoint to the industry

veterans.

The Claims

The writers Desowitz and Weiss both think that the ‘good, fast or cheap: pick two’

adage is outdated. Due to the democratization of the industry tools, competition is

fierce.

‘The good news is that we seem to have finally achieved the true technological

democratization of the industry that we've all been waiting and hoping for.’

(Weiss, 2007)

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Weiss’ experience at the high end of the industry has taught him that the demands of

producers must be met by any means. Desowitz’s close observation of the animation

and visual effects industry has lead him to the same conclusion.

In this highly competitive, global business, a successful company has to find

ways to improve the product, while being most efficient."

(Denise quoted by Desowitz, 2007)

Desowitz article quotes many seasoned professionals about their desires for

improving their businesses and most of his respondents are keen to improve software

development, previs and training of new recruits.

They want it all, feel they deserve it all, think they can get it all - and even worse,

they want all that and more delivered yesterday.

(Weiss, 2007)

It seems to be the case that most people in this business already work extremely

hard; one of the elements that can augment the process of post-production is

working smarter.

While we're all undoubtedly enriched and empowered in extraordinary ways by

the new state of the art, there will never be a substitute for intelligent pre-

production, production and post.

(Weiss, 2007)

The Edit Bubba also mentions that getting good work out of a creative is directly

proportional to the fairness of the contract.

Everyone wants to add another great piece to their reel, but that motivation

decreases in direct proportion to the fairness of the contract they are working

under.

(Edit Bubba, 2009)

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Desowitz quotes John Gajdecki of GVFX who also wants to “focus on solid artists

who are happy.” The Edit Bubba agrees with this position.

A creative, engaged editor and/or motion graphics designer will bring options to

the table, daily, that you never dreamed of.

(Edit Bubba, 2009)

Gajdecki also mentions a related cliché, ‘Fix it in Post’ which is also a gripe of Weiss.

Continue the move of the creative toward pre-production through previs. This is

the single biggest industry change in my opinion -- it changes the 'Fix it in Post'

suicidal mentality to a `Fix it in Pre-Production' system that more fully involves

the creatives in the creative compromises that have to be made."

(Gajadecki, 2007)

Weiss’ point that proper pre-production prevents difficulties in post-production. It is

often the case that because the tools, hardware and software, are cheaper and more

widely available, filmmakers are putting off decisions until they get into the edit

suite.

Conceptualization, scripting, and pre-production are often viewed these days

more as a hindrance than a help. [sic] This puts an enormous burden on post-

production as more and more of the creation process takes place after the fact

and in post - not because it's cheaper, faster or better, but because we can. The

old expression, "we'll fix it in post," has given way to, "we'll create it in post.”

(Weiss, 2007)

The Edit Bubba does not bring up this point, but considering that he is a freelance

editor and proposes charging by the hour he would, I presume, have no problem

sitting in his edit suite watching hours of raw footage. This is normally the case in

documentary production and rightly so; in documentary films you cannot by the very

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nature of them predict exactly what will happen in front of the camera. Although

most documentary makers will research their subject thoroughly in order to avoid

major surprises. The process is the polar opposite in fiction production; the

filmmakers have absolute control over their sets and so should plan accordingly. This

is not to say that there are some directors who work in a different manner but no

doubt they have earned to right to work in their own way. David Lynch for instance is

someone who treats the script as a guideline.

So I think scripts are really good. But if they were perfect you’d just release your

script! You could just read it. And it’s not that way.

(Lynch quoted by Rodley, p.44 1997)

This is a relatively unusual case as the Hollywood machine is so ruled by studio

conglomerates that the budgets they deal with do not afford the director absolute

autonomy. Lynch currently works as an independent director who has final cut on all

his films since Dune. Dune was his first blockbuster film with a large budget and the

studio had final cut on the film. The resulting film was neither a commercial success

nor a person success for Lynch and he never relinquished final cut again. This

example serves to highlight the difference between working independently and

working on blockbusters, where the financial stakes are high.

V. Conclusion
The three articles each make valid points and are each a product of the experience of

the writers. The Edit Bubba’s blog is a personal account of his current experiences in

the audiovisual industry and is very relevant to the recently graduated freelancer.

Roth Weiss’s article is also a reflection of his current experiences in the industry and

illustrates his personal gripes with the access to cheaper hardware and the problems

that can be caused by poor planning and overshooting. Desowitz’s article provides

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the results of a poll to post-production professionals and so offers a balance of

opinions. They have each given their opinion in a fashion that befits the medium in

which they report. Weiss and Desowitz are bound by the fact that their articles are

published in respected magazines and their writing is more professional then that of

the Edit Bubba. The Edit Bubba, being protected by his anonymity, is free to give a

more personal account of his issues, this by no means invalidates his position but the

reader must be more discerning in his evaluation, as he/she does not have to answer

to a magazine editor. Blogs are a useful source of information and often at the

bleeding edge of providing up-to-date knowledge, as they are not reliant on editors

and printing schedules. Industry magazines are a little slower with the information

but are more considered in their output due to the danger of providing false

information and the threat of litigation.

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VI. Figures
Fig. 1.1 The Designers Holy Triangle <http://www.sixside.com/fast_good_cheap.asp>

[Accessed September 20, 2009]

Fig. 2.1 Previs from the Chronicles of Narnia

<http://www.awn.com/articles/production/prevalence-previs > [Accessed September 25,

2009]

VII. Web Links

Bill Desowitz on LinkdIn

http://www.linkedin.com/pub/bill-desowitz/0/767/619 [Accessed September 20, 2009]

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VIII. Bibliography

Desowitz, B. (2007). Visual Effects Survey: What to Expect in 2007 (Issue ). CITY?:
Animation World Magazine.

Artis, A. Q. (2008). Shut Up and Shoot: Documentary Guide. Focal Press: Oxford.

Billups, S (2003). Digital Moviemaking (2nd edition). Michael Wiese Productions: California.

Braun, J. (2008). Audience Measurement Developments and Challenges as Digital TV is

Taking Off. Eurodata TV

Canfield, J (2005). The Success Principles: How to Get from Where You Are to Where You
Want to Be. Harper Collins: London.

Future Scape (2008). Marketing Success via Video Social Networks (April, 2008). [online].
Available from < http://www.futurescape.co.uk >. [Accessed April 2, 2008].

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