One Piece at a Time: Creating a 更多的 Perfect Video Workflow
这本书 Fordlandia: The Rise and Fall of Henry Ford’s Forgotten Jungle City offers a fascinating look at Ford’s spectacularly unsuccessful attempt to establish a rubber production colony in the Amazon rainforest. 一度, author Greg Grandin describes Ford’s precise calculations of what it took to build a car on his famed assembly line in Michigan:
花了7分钟,882项不同的任务来制造一辆福特汽车, and he divided the number by the physical and mental capabilities of his workforce. “强烈, able-bodied men and practically physically perfect men” were required for 949 jobs; 670 could be done by “leg少 men,” 2,《百家乐软件》637页,2个是“无臂男子”,715由“独臂人”创作,10个是“盲人”.” The remainder required able-bodied workers, but of “ordinary physical and mental development.”
福特设想复杂工作的能力, break it down by sequence and task for maximum efficiency, and transmute his vision into end少ly repeatable action proved peer少 in the annals of modern industry, 它塑造了一个世纪的大规模生产. If Ford could be legitimately accused of treating machines like living things and treating human beings like machines (not to mention leaving human women out of the equation entirely), he balanced the dehumanizing power of his coldly efficient assembly line with his insistence on paying his workers a living wage and with his remarkably holistic attention to building model communities for his employees (although, 有人可能会说, he did this only to make them more productive machines).
But Ford’s assembly line also proved monumentally inflexible. In 1927, when more feature-rich competitors had rendered the spartan Model T obsolete, Ford’s famed Dearborn plant went dark for 8 months to undergo the $250 million overhaul necessary to manufacture the new Model A. Human workers seemed to have been the line’s only interchangeable parts.
我们中没有一个人的变化与之相比, 有创意的, unpredictable world of live event video production and streaming like to think of ourselves as assembly-line workers or taskmasters. But our ability to devise and implement more streamlined and efficient workflows for our productions, 尤其是当他们把我们从一个地方转移到另一个地方的时候, arguably enhances our competitive edge and serves us even better in the field than expert camera skills or superior gear.
In 流媒体—especially in this annual Ultimate How-To Issue—we’ve often examined live event production in terms of integrated, 适应性强的, small-footprint workflows rather than endeavors defined by or designed around one or more irreplaceable elements. 但从来没有一件成品 少 about the camera than in this issue’s cover story, Anthony Burokas’ 《如何成为基于ios的广播公司.” 布罗卡斯描述了一种移动设备, 多幅相机, streaming workflow he’s developed for client projects built entirely around video captured with smartphones—and they’re last-year’s-model smartphones at that.
Although Burokas has logged a quarter-century of managing production-truck-based broadcasts and operating full-featured pro cameras, his iOS-based streaming workflow takes a lifetime of accrued camera skills mostly out of the equation, 加上顶级专业装备的成本. There’s an entirely different skill set at work here. It breaks down live production into an array of interconnected tasks and asks what interlocking parts can accomplish each task without overemphasizing one production element at the expense of overall balance, 打破预算, or compromising the mobility or adaptability of the workflow.
If the end product bears some physical resemblance to the “frankenrig” assemblages of cages, 中等收入国家, 监控, and cables that DSLR filmmakers jury-rig around their cameras in the service of a meticulously crafted shot, the purpose of Burokas’ iOS broadcasting rig is entirely different. “打针”仍然很重要, but it’s subsumed into a process that prioritizes coverage, 交付, 灵活性, 更容易分解和重组，而不是艺术性. If that means looking at your most prized gear and the hard-won skills with which you operate it as simply machines at work, that’s OK; in live event production and streaming, 这就是它们的本质.
[This article appears in the April/May 2018 issue of 流媒体杂志 就像《海贼王》一样."]
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