Archive for the ‘Quality of Life’ category

In LA, It’s All About Traffic

June 18, 2007

I got out of a screening at Fotokem on Friday at 4:30. Time to get to the West Side: 90 minutes. Time without traffic — 30 minutes. Traffic on the 405 South was stopped halfway up the hill on the valley side. That’s the worst I’ve ever seen it. There was a ten minute backup on Sepulveda at Moraga because of a mistimed light.

It’s come down to this: the whole job revolves around traffic. How do I get to work? How do the dailies get to me?

I’d much rather work at home these days and have material delivered. It’s just too much trouble getting to the cutting room.

Verizon is supposed to be aggressively rolling out their “FIOS” broadband service — fiber to the home. For me, it can’t come fast enough. Get me my dailies over a wire. Where do I sign up?

The Editing Room and the Waistline

June 8, 2007

15% of kids 6 to 11 are now obese. Yes, you read that right. And a new study says that 60% of overweight incidents in children can be traced to too much time in front of the tube. If that’s true for kids, what about for us? Don’t we log more screen time than an average school kid?

When I taught editing a few years ago I sometimes saw the bodies of students change. Their minds and skill sets expanded — but their bodies did, too. And it isn’t just happening to students. Too often, the job just isn’t good for you.

What are the causes? Too many hours indoors is one problem. Not only does lack of sunlight make you tired and sick-looking, but it influences your mood as well. If you don’t see a half hour of daylight every day you can get what’s called “SAD,” or seasonal affective disorder, which manifests mainly as depression. The cure is sunlight, or artificial light that matches its spectral characteristics.

Posture and repetitive motion disorders are omnipresent, too. I’ll wager that every one of us knows somebody who’s had carpal tunnel symdrome, or something like it.

Not enough sleep is another hazard. So is stress. Here in the US we all make jokes about the French, but a 35 hour work week and 6 weeks of vacation a year go a long way toward making life livable.

And that waistline? A lot of it has to do with the lunches we eat. Take out — the fat and carb express. When you’re under stress you’re genetically programmed to want that stuff and it’s always hard to go for the salad when somebody else is having a cheeseburger and fries.

And, of course, we don’t get enough exercise. You’re supposed to do something physical every day — just a 20 or 30 minute brisk walk does wonders. But when we’re working the hours we do, that isn’t so easy.

Last summer I was able to do something unusual for me — I commuted to work on a bicycle. And the effects of doing that for three months were clearly visible on my body and in my mind. I got to work feeling refreshed, and I looked forward to the trip home every night.

It’s too bad that we can’t find a way to do that kind of thing more regularly. I love the work I do, but I love it even more when it’s part of a balanced life.

Nine to Five

May 29, 2007

Does anybody remember working nine to five? The last time I did that on a regular basis was in the late ’70s. I recall that it was a near-blissful experience: a regular work schedule and a genuine life after work every day. That’s never been the rule in post-production but it was once the rule for most of corporate America and, guess what, it profoundly changes your life — and your family’s life.

In France, the standard work week is now 35 hours. Americans can’t believe that. It’s so foreign to us that we just can’t process it.

I remember a meeting of union activists I attended many years ago. We went around the room and talked about things we’d wish for. I said that my main wish was to go home while the sun was still shining. That got a big laugh from everybody. Ha ha! Never happen!

Does what we do really require 14- or 16-hour days? Or is it simply a habit we’ve collectively adopted? The culture is so frenetic and competitive that we can no longer go home at a reasonable hour without feeling that we’re somehow cheating. The only way you can get your life back, it seems, is by working at home — and then you can’t go home at all.

Generations of editors have lived with this work ethic and some have died at their Moviolas, valiantly pushing on. The non-linear revolution hasn’t changed this at all. We bemoan the crisis of values in our culture, the lack of family connections, the alienation. And we keep on working.

Haskel Wexler’s film “Who Needs Sleep” covers this subject in compelling detail. You can buy the DVD here. He’s also started a group called “12 On / 12 Off,” which focuses on creating reasonable work schedules in the film business.

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Turn it Off

May 1, 2007

I’m starting to think that the fastest way we Americans could help reduce global warming is by just turning stuff off when it’s not in use. I’m a bicyclist and I can’t begin to count the number of people I ride by who are sitting in parked cars, talking on their cell phones — with their engines running. Folks, you are getting zero miles per gallon!

We could do a lot just by turning lights off when they’re not in use. How many rooms in your home are lit up at night with nobody using them? In post-production, we leave the juice on way more than we need to. Do you leave all the lights on in your cutting rooms when you go to lunch? Or when you go home at night? Lots of people leave their whole editing setup on 24/7.

Last year Canon estimated that about 44 million kilowatt-hours of electricity would be wasted in Great Britain by leaving office equipment on standby over the ten-day Christmas holiday. The price for all those machines doing nothing was estimated to be about $17 million, or about 19,000 tons of carbon dioxide pumped into the atmosphere.

Yes, I’ve heard that hard drives last longer if they’re never turned off. Maybe so. But drives are a lot more reliable now than they used to be. It’s hard to believe that turning a drive off a few hundred times a year makes much of a difference, when Seagate says their drives can easily go to 100,000 stop/start cycles. Could take a while to use that up.

Maybe it’s time for us editors to start turning things off at night. We could save a lot of watt-hours, and these days we need to do as much of that as we can.

Eliminating Regulation at OSHA

April 25, 2007

Will it come to a surprise to anyone that under the Bush administration the Occupational Safety and Health Administration, the organization that is supposed to protect people from workplace injuries, has mainly eliminated regulations and made life easier for business? Stephen Labaton lays this out in a revealing New York Times article today (also available here). The piece quotes Dr. David Michaels, an occupational health expert at George Washington University: “The people at OSHA have no interest in running a regulatory agency. If they ever knew how to issue regulations, they’ve forgotten. The concern about protecting workers has gone out the window.”

And, big surprise, the article goes on to say, “Three of the biggest industries regulated by OSHA — transportation, agribusiness and construction — have given more than $630 million in political campaign contributions since 2000, with nearly three-quarters of that money going to Republicans.”

I bring this up here because repetitive motion disorders — carpal tunnel and the like — have gotten little attention from the agency. Nor has monitor radiation, or other issues that impact so many of us who are staring at screens for 10 or 12 hours a day. Quoting the article again, “In one of his first acts in office, Bush signed legislation repealing one of OSHA’s most-debated accomplishments during the Clinton administration, an ergonomics standard intended to reduce injuries to factory, construction and office workers from repetitive motions and lifting.”

OSHA is headed by Edwin Foulke, who used to work for a law firm that advised companies on how to avoid unionization.

House and Senate committees are holding OSHA oversight hearings this week.

Waiting for NAB

April 11, 2007

At this point, I expect that all eyes are on NAB — the calm before the storm, as it were. Apple’s announcement this coming Sunday has been the subject of a lot of speculation, namely that we’ll see a 4K version of Final Cut and a revamped Logic. The company has made it clear that it plans to focus on host-based processing and with the quiet introduction of the 8-core Mac Pro last week it has an opportunity to really push the envelope. It doesn’t take a crystal ball to guess that they’ll use those machines to do things that haven’t been possible before. That should provide excitement enough, but we haven’t seen a significant feature upgrade to Final Cut for some time and the company may have some other improvements up it’s sleeve, too.

As you all probably know by now, I tend to be more interested in bread and butter usability features than finishing or visual effects. Not to say that those things aren’t important. But my focus is on shaping story and performance and I tend to get excited about things that help me do that. An extreme example: one friend, a prominent editor, prefers Adrenaline over Meridien for exactly three reasons: real time audio dissolves, 16 playable audio tracks and faster bin saves. The ability to play layer upon layer of visual effects in real time, Adrenaline’s headline advantage, doesn’t figure in his calculation. If Avid offered invisible, background saves, or a live timeline that could be scrolled or scaled while the machine played, I’d wager it would create a lot of Hollywood converts. I doesn’t seem that things like that get high priority in Tewksbury and that’s slowing adoption here.

Avid doesn’t keep secrets the way Apple does and it looks like they haven’t held much back for NAB. That doesn’t diminish the importance of version 2.7. If it’s as bug free as we’ve been led to expect it will finally allow us to get some serious work done on portable systems and that has the potential to fundamentally change our work environments. Avid wasn’t the first to this party — Apple was — but if they’ve got it right it will change the way we in features and episodic TV work. DNxHD 36 is also important and will help a lot of us start looking at HD images — no small thing, either.

All in all, it feels like a watershed NAB for both companies, but in different ways, and that can only be good for editors. The changing technical landscape continues to alter our lives. But at the end of the day, storytelling has to remain paramount. I love the technology — but if I’m not using it to move people it doesn’t mean a whole lot to me.

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