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Have you ever wondered why Access SF doesn't offer a non-linear (computer-based) video editing system. As I've been told, a few years ago, Michael Freeman, a past Access SF director, donated an Avid workstation to Access SF for the Access SF producers. This workstation was never made available to producers, and until very recently, only Sade Huron was authorized to use it. Even now, there are only three staff members authorized to use this workstation donated for the producers, and staff is not even any longer authorized to disclose that the workstation exists.
Prior to my employment at Access SF, I found that there was an Avid Workstation in the Flash studio (prior to the Flash studio coming on-line), that Sade Huron was using to edit an AIDS Awareness Public Service Announcement (PSA). This system had had a large IBM workstation with lots of disk space, multiple monitors, DVD capability, a dedicated Sony DSR-20 DVCAM/MiniDV deck, and the AVID video editing software. Others told me that this was donated to Access SF for the producers, but it was only being used by Sade Huron to edit staff productions and Public Service Announcements (PSA). When the Flash studio went on-line and made available to producers, the AVID workstation was locked away in playback. At the time, I wasn't interested since I was using Adobe Premiere on my multi-processor workstation and I had more memory, more disk, and more monitors.
When I started maintaining the Access SF web site, I was having discussions with Zane Blaney trying to convince him that we should be streaming the Access SF programming over the web. I had been running my own web streaming server for many years, and had been a pioneer in streaming in public radio for West Coast Live, an independent public radio show. My server hosted the largest archive of public radio shows streamed on-demand around the world 24x7, as well as streaming on-demand archives for other artists. Access SF did not have the resources to stream and Zane questioned whether Access SF had the rights to stream producer content. I offered to stream one show on my server as a pilot test to gauge demand. I acquired explicit authorization to stream Newsroom on Access SF. The only thing that stood in the way of this was that I did not have a DVCAM deck needed to encode the show. Zane authorized the pilot and authorized me to use the AVID workstation to transfer the show from tape to disk, so I could encode the disk file to RealVideo for streaming. Since I had used Premier for many years, and I had used other audio and video editing programs, I saw no obstacle to dealing with the AVID GUI interface. I reserved some time on the AVID workstation on FACIL, and on my own time, I spent a few hours trying to transfer one episode to disk. Unfortunately the tape I was using had inconsistent time-code which AVID couldn't deal with. I would need to dub the tape to another tape to correct the time code.
The next afternoon I received a disturbing email from Sade Huron telling me that I was not authorized to use the AVID workstation and I should not use it again. When I arrived to work later that day, Sade Huron confronted me in the lobby and asked if I received her email. I acknowledged I had, and she asked me if I will abide my her demand that I not touch the AVID workstation. Considering that I had Zane's permission to use the AVID workstation for this project, and we routinely used the AVID's DSR-20 to time DVCAM tapes for playback, I told her that I received her note, but I cannot agree to not use the Avid workstation. I suggested she check with Zane. Moments later I was called into Zane's office.
I sat there as Sade Huron told Zane Blaneyhow I disrespected her authority by using the AVID workstation and then when caught and disciplined, I refused to abide be her authority by not pledging to not touch the AVID workstation. Then recounted how I was working on a project authorized by Zane, who I had Zane's permission to use the AVID, and how we routinely used the AVID's tape deck to time tapes for playback. Sade Huron said I hadn't even read the AVID's procedures, so I asked to see them. She refused to show them to me. (note that months later I found these procedures, which turned out to be a one paragraph note pinned to the wall next the the Avid Workstation). The meeting ended with Zane telling me "Michael, no staff is allowed to use any equipment for personal use without my expressed permission.". Remember this edict, since I'll refer to it in other reports. I walked away from that meeting peaved that Zane didn't explain to Sade Huron that I had his permission and that this was not for personal use. There was considerable fall-out from this meeting. I withdrew my offer to pilot streaming on my server, so Access SF is no closer to streaming programming. It also enabled Sade Huron to begin an ongoing effort to drive me from the station, by her attitude towards me and her outright discrimination against me in shift scheduling and workshop assignments. More on those issues will be reported later.
Sade Huron, Zane, and I had periodic meetings concerning AVID. Sade would declare that anyone desiring to use the AVID workstation would need to have read and understood her written procedures, and prove their knowledge of AVID by passing a hands-on check-out test with her. Sade Huron refused to abide by direct orders by Zane to provide me a copy of the AVID procuedures she wrote. She also declared that she would not give anyone an opportunity to be checked-out on AVID, because she tried it one before and that person failed the test. Sade Huron kept the AVID workstation her private domain, and Zane allowed he to do so.
The issue of needing non-linear editing available to producers would occasionally come up in staff meetings. Except for Sade, the other staff members argued for computer-based non-linear editing. Sade would argued that producers need to use linear editing so they could learn the down and dirty techniques of editing. I would reminisce how I used to edit tape with a razor blade and tape, but that technology is now obsolete, as is our linear editing suites and I argued that the AVID workstation should be made available to producers. John Sanchez held a workshop to teach iMovie. Access SF bought an iBook for the purpose, but John was given only one opportunity to teach that class. Sade refused to reschedule it. Marc Smolowitz allocated the iBook for his exclusive personal use. So much for iMovie. Bud Dillon came up with a plan to convert the existing linear editing suites to hybrid editing suites where producers could do either linear editing with our existing Sony tape-based linear editing equipment, or they could edit with FinalCut Pro. Zane now claims that Bud's proposal if our official position, he knows that there is no money for it. We have an AVID workstation donated for the producers, and no producer is allowed to use it.
Months ago, I was in playback timing tapes (on the AVID) when Zane Blaney brought an orientation tour back there. He pointed to the AVID workstation and told the group "If you know how to use AVID, you could be using this workstation tomorrow.". How two-faced is that, since he knows and supports Sade's demands that nobody is allowed to use it and she refuses to give anyone an AVID proficiency test. Shortly after that, the AVID workstation was moved out of playback into the private back office area. Shortly after that move, I was leading an orientation tour and I was asked about the AVID workstation. The tour group asked to see it, so I took them back to the office and showed them. After that tour, I was reprimanded by Zane for taking the tour back there. The next time I was allowed to lead a tour group I was given explicit directives that I was not to discuss AVID, the existence of the workstation, or take anyone into the back office area. Just because the AVID workstation is now out-of-sight, and staff is not allowed to discuss it, it remains a fact that this workstation, donated for the producers is, kept from the producers.
Today, the Avid workstation, donated for the producers, sits locked away in Jan Levine's ex-office and nobody is allowed to touch it except for Sade Huron, Bud, and Bobby. The iBook, purchased to teach iMovie, is used exclusively by Marc Smolowitz and is usually off-site with Marc. Producers may use the linear tape-based edit suites for (up to) three hours per reservation Tuesday through Friday from 3:00 p.m. to 11:00 p.m. and Saturday from 11:00 a.m. to 7:00 p.m..
As per the Sunshine Ordinance, Access SF Prodcuers should be making formal requests for information from Zane Blaney and the SFCTC Board of Directors to;
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