Archive for the ‘Editors Guild’ category

Incomprehensible Medical Bills

February 28, 2007

Reforming health insurance, once seen as the third rail in American politics, is back in vogue again. John Edwards described his plan in detail recently, something few other politicians have been willing to do, and Paul Krugman reviewed it quite positively in a recent column.

One thing that is rarely mentioned, though, by Democrats or Republicans, is much less expensive and much more pervasive — the fact that medical bills are darn near incomprehensible. And that makes it impossible for the consumer to exercise any kind of reasonable control.

There’s the “list price,” which nobody actually pays, the negotiated price, the provider discount, the plan discount. There’s the doctor fee, the lab fee, the hospital charge, equipment charges and various extras, mostly listed in the most generic language possible. There are multiple bills, each with their own subset of these costs, some of which overlap. “Explanation of benefit” forms often don’t even mention the doctor’s name.

Bottom line? Medical services are the only thing we buy for which we don’t understand the bill and for which we don’t know the price in advance. Can you imagine buying a TV that way? You’re browsing at Circuit City and the salesman says, “This HD model is fantastic. Great picture! We’ll be happy to load it into your car — and once you get it home and installed we’ll tell you how much it costs! All you have to do is sign this little piece of paper indicating that you are legally responsible for payment. Do we have a deal?”

But, imagine if it was different. Imagine that every doctor was required to tell you what a service or test was going to cost — before it was performed. Or imagine an even simpler change: a requirement that all medical bills and explanation of benefit forms forms itemize in plain English what services were performed and by whom.

Either or both of these things would give consumers all kinds of power. You’d be able to compare diagnoses, services and prices. And you’d be able to check the bill and the insurance payments and catch mistakes.

We’ve certainly got the computer power in place to make this happen. So what’s stopping it? I don’t know, but my intuition is that both the doctor and the insurance company, each for their own reasons, wants us to remain in the dark. Nobody’s pushing for clarity so clarity doesn’t happen.

One Laptop Per Child

February 23, 2007

One-LaptopI’ve been listening to a fascinating episode of Chris Lydon’s terrific radio show “Open Source,” talking about the “One Laptop Per Child” project (OLPC). This was founded by the former head of MIT’s Media Lab, Nicholas Negroponte, and promises to provide a modern laptop to kids for about $150. The machine is unique in many ways. Chief among them: a reflective screen, so it works all day long on a single charge, open source, Linux-based software that can be updated by anyone, mesh networking, so individual machines work together to get on the net, camera, browser, email, VoIP, chat, word processing, spreadsheet and more, all built in. The plan is to sell them in lots of a million to developing nations. They are working on orders from several countries.

This is the next step in the democratization of computer technology — a path that we started on with the first mini-computers and which accelerated with the Apple II, the IBM PC and the Mac. It’s also the same path we’re on in post-production, as the “big iron” of the studios and facilities gets displaced by inexpensive desktop software.

This isn’t just about technology, of course, it’s about people. In Hollywood, the old world of post-production was very closed. Most of the people who got in had relatives who were already in. The ’60s and ’70s changed that, as 16mm equipment got into the hands of educators, film schools took off, and a series of court decisions opened up the IATSE.

But opening the doors can be awfully scary to the folks inside. Today, as editing equipment moves into high schools and post-production becomes sexier, we’re seeing the beginning of a new wave of young editors starting to knock on our doors. Is this a threat or an opportunity — or both? Does it hurt us, or bring new ideas?

Look at it this way: Microsoft, via Windows, owns the desktop, right? And for a long time, Microsoft represented the democratization of technology. The whole idea was to change society by putting a computer on every desk and thus shift power away from centralized mainframe computing.

But now, if this OLPC project takes off, a lot of kids in developing countries are going to learn about computers and the internet via Linux — with no Microsoft software in sight. Is that a long term threat to Microsoft? You bet it is.

Maybe this business of democratization is perpetual. And whoever is on the inside resists it, no matter how big they are. But if there’s any lesson in the past, it’s this: trying to keep new ideas and new people out is futile and self-destructive. Embracing the new is the only hope. The question for us, as editors, is not whether we do that, but how.

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The Wave Returns

February 22, 2007

Post-production was the first Hollywood craft to face the digital revolution. It felt crazy and chaotic at the time, but in hindsight, we did pretty well with it. Just about everybody was able to make the jump to lightspeed, as it were. We worked hard to learn the new tools and, as a result, we were able to continue to do the work we love.

That first big wave of change has now spread out into the rest of the production chain and, today, camera seems to be going through a process similar to what we experienced a decade ago.

The wave has also moved out into the society at large. Not only does every teenager have access to post-production tools that are more sophisticated than what we had access to just a few years ago, but every couch potato can record shows with a DVR that would put our old Avids to shame. And everybody with a bit of internet savvy can get their short videos distributed free via YouTube.

In short, all audiovisual media is becoming digital and everybody can control it in unprecedented ways. Which means the changes have just begun — again.

We’ve been looking one way, at the tools, but the wave is coming from a different direction now, from the society at large. These are some of the issues:

  • The first digital editing rooms were based on monolithic software/hardware combinations that did everything you needed. More and more, today’s cutting rooms rely on a wider range of inexpensive, software-only applications.
  • In the past, entry into our field was limited via an apprenticeship program. Today, the barriers to entrance are much lower. You can learn a great deal not just in college, but in high school.
  • Editing used to mean lots of heavy gear. Now you can set up an adequate cutting room in your spare bedroom.
  • Getting film from one place to another used to mean driving or flying it there. Now it means moving it around on the internet.

How is all this going to affect us? What do we do to prepare for it? How do we shape these forces so they work for us? As I said at the Eddie awards, we have to put our heads together, come up with a picture of the post-production landscape of the future, and start thinking about solutions. And we have to put renewed emphasis on education, not just about the tools, but about that dreaded subject, workflow.

This 2nd wave is coming. When it hits, we need to be prepared.

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The Robert Wise Award

February 19, 2007

Robert Wise AwardLast night I received the Robert Wise Award for “Journalistic Illumination of the Art of Editing,” at the American Cinema Editors’ 57th annual Eddie Awards banquet. It was a wonderful night for me, the culmination of nearly 20 years of work in this community. This morning, I’m still basking in the glow of the support I felt from so many friends and colleagues.

ACE president Alan Heim presented me with the award and mentioned this site, so I expect that at least of few of you will be here today for the first time. Welcome!

I encourage you to browse around and get a sense of what’s here. The content is bit more perennial than on some blogs. There are Avid tips, discussions of Avid problems, talk about the changing world of editing, and notes about the growing influence of media in society. Your way into this material is through the links in the right hand column: “top posts,” “recent posts” and “categories.” If you want to read it all you can do that via the archives.

I hope you’ll add your ideas via the comment links at the end of each post. A blog is a conversation, and I’m eager to hear your thoughts.

My acceptance speech took off from some of the recent postings here. The editing revolution of the ’90s was about tools. We saw our Moviolas and KEMs replaced with computers and hard drives. Things seem to have settled down in the last few years, but my contention is that there’s another revolution brewing, one that is stealthier because a lot of it is taking place outside our editing rooms, but in the long run, no less disruptive. That’s the workflow revolution, the many changes that together will soon result in all the materials of our work, from camera to screen, turning into zeros and ones. The effects of that transformation: inexpensive, desktop software, internet based post-production, portable editing rooms and increasing competition, are going to rock our world just as much or more than the first phase did.

We did a lot of things right in the 1990s. In particular, we focused on two things: education and community support. Today, I think we need to take another hard look at the changes around us and push our educational programs aggressively to cover these new issues. I know we can handle it. Our strength as a community served us so well in the first phase, and we’re wiser now, but we’ve gotta get moving.

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Does Stability in the Media Composer Mean Complacency for Editors?

February 8, 2007

The basic Media Composer feature set and user interface haven’t changed much in a decade. Sure some important features have been added, but for a lot of people in features and TV, the big learning curve was over a long time ago.

This has given the community a chance to refocus on what we love best, namely editing. But I think it’s also creating a false sense of security. The emphasis on education, so strong in the mid-90s has waned. Many editors I know even resist learning new things about the Media Composer itself.

Meanwhile, post-production continues to be fundamentally transformed. We’re seeing a shift to desktop applications, file-based workflows and distributed work environments. Editors are responsible for larger and larger swaths of the post-production landscape. And we’re facing stiffer competition from all over the world.

Are feature and TV editors prepared for this new world? I hope so. But one thing is certain — the stability of the Media Composer user interface should not be taken as a sign that things have stopped changing.

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City Traffic and Remote Collaboration

February 6, 2007

I’ve been following Steve Lopez’ LA Times columns and his blog about LA traffic. The more I drive in this city the more I want to stop doing so.

LA recently “improved” an intersection in my neighborhood, adding a left turn lane and re-timing the light. The result, at a cost of tens of thousands of dollars, has all but ruined the intersection, increasing wait times for everybody and causing a blocks-long backup during rush hour. With improvements like this, the city will be gridlocked in no time. The “cure” is killing the patient.

But this summer I bicycled to work — and I’ve never had a happier commute. I arrived every day feeling invigorated and every night looked forward to the trip home.

In LA, where bike lanes are few and distances are long, the luxury of being able to do this is rare. And that makes me think our salvation will be in “remote collaboration.”

The relative simplicity of our new editing equipment, the shift to file-based workflows and the growing availability of fast internet connections, are making it possible to do all kinds of things from home. This is going to get even more appealing once AT&T and Verizon get their fast new fiber networks installed.

But there are disadvantages, too. Here are some of the pros and cons as I see them:

The Good

  • Working at home means functioning in a congenial, comfortable environment.
  • Skipping the commute means you’re fresher all day long. You experience less stress and less exposure to highway smog.
  • You can work more flexible hours, so it’s easier to deal with kids and family.
  • You’re more productive because you’re not wasting precious hours in traffic.
  • Staying out of your car means you’re reducing your “carbon footprint” and doing your part for global warming.

The Bad

  • Figuring out how to work at home and getting producers comfortable with the idea means that we’re making it easier for people all over the world to do exactly the same thing — and thus compete with us from afar.
  • Working at home means that there’s no social interaction at work.
  • You’re probably going to own at least some of your own equipment and you’re going to have to do more of your own tech support.
  • When you’re working from home, employers tend to think you’re available 24/7. You’re more likely to work extra hours and not charge for it.
  • Work rules like meal penalty and turnaround are harder to enforce.
  • Work and life tend to get intermixed. You can’t go home at the end of the day — you’re already there.

Whether we like it or not, this new internet-enabled, portable workplace of the future is coming at us. Are we prepared for it technically? Institutionally? Contractually? My feeling is that we need to get ahead of this trend and start figuring out how it’s going to affect us — now while we can still exercise a little control.

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