"I couldn't do what I do without integration. For me, RED is the difference between going home at night, or pulling an all-nighter in the studio messing around with another application. " Douglas Blush, Editor and Senior TV Baby, MadPix Inc.
Doug Blush is a tv baby to be sure, but you may be more familiar with his work in the context of the movies. He's done graphics and video work for the computer monitors seen in Independence Day, and was director of photography and/or editor for behind the scenes features including Dante's Peak, Godzilla and Titanic, among many others. He was also an animator and editor for the ABC series "One Saturday Morning," and creates graphics, teases and special programming for the Fox Movie Channel.
"The vast majority of the effects I create begin with text, which nobody does better than Boris RED. I save hours by doing it all in my editing timeline, and still get to take advantage of text features nobody else has," says Doug.
In addition to creating his own work from scratch, Doug is part of a large group of editors and artists at multiple locations creating images for the Fox Movie Channel. It frequently falls to him to provide missing pieces, and finesse the whole project together.
"The images here are from a Fox Movie Channel Commemorative spot, one of FORTY lower thirds for that project that I templated into Boris Red on the graphics track of my Media 100. It's a pre-existing motion graphic that came off of DigiBeta (no Quicktime file, grrrrrr), and I had to assemble the alpha pass and the video together to make it work. Sure, I could have spent A WEEK jumping back into AE and exporting back out, but with Boris I just replaced elements right in the timeline and finished them all in a few hours.
"I like that my Media 100 can export a timeline that opens in AE as a comp, but that does me no good if I've already got a long timeline and just need to add titles. With as many titles as I do, if I had to go to AE to animate each one, it would crush me.
"The workflow in RED is so much faster. I just set up a template and keep changing it. It couldn't be easier. And it's not like I'm giving up features. AE is incredibly weak on text, and RED goes so much further, so much faster.
"RED's speed has rescued me more times than I can count. In one tight production crunch on ABC's One Saturday Morning, we ran into a jam, and the senior animators were sure it was going to take them a couple of weeks to fix the problem. I showed them how easy it would be for me to do fixes in RED, so they let me take it on -- I was able to get everything right in a couple of days.
"Because RED offers so many more features, and allows me to build title animations so much faster, I'm able to charge every penny that I want to, and still bring projects in with all the polish that my clients demand, for less money than they thought possible," says Doug.
"For what we do here, Boris has saved literally weeks of my life for things like baby fun."