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| Re: Some of my wishes [message #104266 is a reply to message #104265] |
Wed, 28 October 2009 13:03  |
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I generally find that my clients honestly couldn't care less what DAW I use. They come to work with me, and not my DAW, and they pretty much leave me to make the decisions about things like that - as long as I get the job they're paying me for done. I've never been asked "do you have ProTools?" or "what plugins do you use?" except out of idle curiosity.
If perceptible latency or crashes were to irritate my clients during sessions it might be a different story, but with PARIS the first's a non-issue, and the second seems to be a matter of careful setup. Most PARIS days over here go by without a single crash (better than I can say for most Logic days).
It'd probably look different if I was concentrating on a career in film or TV, but I don't particularly enjoy that work unless I'm working with the relatively small number of employers in the local industry (in my experience) that are sane and remain in possession of some sort of sense of perspective - "no, I certainly have no intention of staying up 36 hours straight having angina re-cutting audio for your crappy straight-to-cable-access series because your 'locked cut' came 'unlocked'".
So I've exercised pretty careful control over my "gear overhead" so I don't have to do stuff I don't particularly like doing; after all, if I'd started out with the goal of "doing things I strongly dislike for the purpose of making money" there are smarter and more lucrative career paths to do that in, like real estate or accounting. Returning to PARIS was an essential part of that strategy.
In those cases where I *do* want to work with the composer (case in point, the miniseries I just finished, which was a real pleasure), I can always boot up Logic when needed. It wasn't.
"... being bitter is like swallowing poison and waiting for the other guy to die..." - anon
[Updated on: Wed, 28 October 2009 13:05] Report message to a moderator |
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