John Buck

• 
  www.media100.com/news/velocite.asp - [Cached Version]
  Published on: 12/7/2007    Last Visited: 12/7/2007  

  "Everything we do is critical and under deadline", says John Buck, owner of Velocite, a major post facility serving clients all over "Down Under".
  ...
  During those days Buck was running the Media 100 board-and-software set on a Macintosh Quadra 840 with a 3 gigabyte hard drive digitizing source material off borrowed Betacam decks.But since then his Velocite facility has purchased three standard definition Media 100 systems and one Media 100 HD Suite running the new vers. ion 11.5 software just released in October 2006.He's convinced that his company's success has been due in large part to two things: having a good accountant, and the amount of features Media 100 offers for the investment.
  
  "Without question, being an early adopter of Media 100 was the best decision I have ever made," Buck says.
  
  Buck finds one of the strengths of the Media 100 system is its shallow learning curve despite its professional features."When I'm training new editors I tell them not to over think the process," he says.
  ...
  But that's only the beginning, since Buck and his editors at Velocite simultaneously remaster "Backstage Pass" in 4 X 3 format to become part of Qantas Airline's in-flight entertainment programming on flights out of Australia.
  
  "Qantas does not want to letterbox the material they show their passengers, so Media 100's ability to output multiple formats from the same timeline is key for us," he says.
  
  The new version 11.5 software on his systems at Velocite also allows Buck to output the "Backstage Pass" projects as a QuickTime movie which he can send to an audio sweetening facility for use as reference for their sound mixing."They use the QuickTime version as a guide for the OMF files we provide on disk with each show and send us back a completed AIFF (Audio Interchange File Format) track," he says."Then we just drop it onto our timeline and the project is finished."
  
  But if Buck had to single out one aspect of Media 100 that puts it over other NLE's ,it is the system's reliability.As he puts it, "I know that every time I tell it to master a show from the timeline, I can just walk away and have a cup of coffee.Once I hit ,output to tape', the hardware/software combination is so solid I never have to worry about dropouts or missing multilayered scenes.That is critical for a schedule like ours when we absolutely have to deliver material either to a major network or our clients on deadline."
  
  Buck gives Media 100's new owner, Boris Yamnitsky, a lot of credit for keeping the editing software ahead of the pack.

• 
  Adimex - [Cached Version]
  Published on: 3/22/2007    Last Visited: 5/23/2009  

  "Velocite is a boutique edit company that prides itself on creating a quality product, quickly and reliably," said John Buck, senior editor, Velocite. "Velocite has always been keen to adapt and evolve. Our workload is ever changing and our client base is as eclectic and diverse as our editing team."
  
  Velocite’s most recent projects include: offline editing 35mm film based commercials such as the Qantas "Choir" series, with director Iain MacKenzie and the complete edit work of 16:9 digibeta tapes for the Seven Network’s ratings winner "Ground Force".
  
  "When we decided to purchase a 10 bit system, I knew it would need to be a perfect fit between technology and genuine productivity," said John Buck. "What would suit our needs and actually deliver the goods in February 2003, 2004 and 2005? We researched all the options on the market, from the expensive turn key systems through to plugging various components from different manufacturers together at much cheaper prices."
  
  Velocite has used Media 100 products since 1994 and owner, John Buck contributes much of Velocite success to the rock solid reliability and the raw editing speed of Media 100’s dual stream 8 bit digital video editing systems.
  
  "We even set ourselves the goal of not buying another Media 100 system but in the end we failed!," said John.
  ...
  It also allows us to do online colour correcting and ‘graining’ of video clips or DV documentaries in real-time and gives both streams of work access to a facility that is normally only available to large budget projects," said John.
  ...
  "The true value in my opinion is the hidden ability of 844/X," said John.
  ...
  John Buck, Principal, Velocite Editorial Pty Ltd
  
  Ph: 02 94396 9402 - John@velocite.net

• 
  Media 100 - Digital Nonlinear Editing Systems - [Cached Version]
  Published on: 3/5/2007    Last Visited: 8/10/2007  

  "Everything we do is critical and under deadline", says John Buck, owner of Velocite, a major post facility serving clients all over "Down Under".
  ...
  During those days Buck was running the Media 100 board-and-software set on a Macintosh Quadra 840 with a 3 gigabyte hard drive digitizing source material off borrowed Betacam decks.But since then his Velocite facility has purchased three standard definition Media 100 systems and one Media 100 HD Suite running the new vers. ion 11.5 software just released in October 2006.He's convinced that his company's success has been due in large part to two things: having a good accountant, and the amount of features Media 100 offers for the investment.
  
  "Without question, being an early adopter of Media 100 was the best decision I have ever made," Buck says.
  
  Buck finds one of the strengths of the Media 100 system is its shallow learning curve despite its professional features."When I'm training new editors I tell them not to over think the process," he says.
  ...
  But that's only the beginning, since Buck and his editors at Velocite simultaneously remaster "Backstage Pass" in 4 X 3 format to become part of Qantas Airline's in-flight entertainment programming on flights out of Australia.
  
  "Qantas does not want to letterbox the material they show their passengers, so Media 100's ability to output multiple formats from the same timeline is key for us," he says.
  
  The new version 11.5 software on his systems at Velocite also allows Buck to output the "Backstage Pass" projects as a QuickTime movie which he can send to an audio sweetening facility for use as reference for their sound mixing."They use the QuickTime version as a guide for the OMF files we provide on disk with each show and send us back a completed AIFF (Audio Interchange File Format) track," he says."Then we just drop it onto our timeline and the project is finished."
  
  But if Buck had to single out one aspect of Media 100 that puts it over other NLE's ,it is the system's reliability.As he puts it, "I know that every time I tell it to master a show from the timeline, I can just walk away and have a cup of coffee.Once I hit ,output to tape', the hardware/software combination is so solid I never have to worry about dropouts or missing multilayered scenes.That is critical for a schedule like ours when we absolutely have to deliver material either to a major network or our clients on deadline."
  
  Buck gives Media 100's new owner, Boris Yamnitsky, a lot of credit for keeping the editing software ahead of the pack.

• 
  Media 100 - Digital Nonlinear Editing Systems - [Cached Version]
  Published on: 11/17/2006    Last Visited: 8/10/2007  

  A Media 100 post house with offices in Sydney and Shanghai, Velocite owner John Buck is an MTV award winner and a Media 100 user since 1994.

• 
  Media 100 Breaking Through - [Cached Version]
  Published on: 5/16/2008    Last Visited: 5/8/2009  

  "Everything we do is critical and under deadline", says John Buck, owner of Velocite, a major post facility serving clients all over "Down Under".
  ...
  During those days Buck was running the Media 100 board-and-software set on a Macintosh Quadra 840 with a 3 gigabyte hard drive digitizing source material off borrowed Betacam decks. But since then his Velocite facility has purchased three standard definition Media 100 systems and one Media 100 HD Suite running the new vers. ion 11.5 software just released in October 2006. He's convinced that his company's success has been due in large part to two things: having a good accountant, and the amount of features Media 100 offers for the investment.
  
  "Without question, being an early adopter of Media 100 was the best decision I have ever made," Buck says.
  
  Buck finds one of the strengths of the Media 100 system is its shallow learning curve despite its professional features. "When I'm training new editors I tell them not to over think the process," he says.
  ...
  But that's only the beginning, since Buck and his editors at Velocite simultaneously remaster "Backstage Pass" in 4 X 3 format to become part of Qantas Airline's in-flight entertainment programming on flights out of Australia.
  
  "Qantas does not want to letterbox the material they show their passengers, so Media 100's ability to output multiple formats from the same timeline is key for us," he says.
  
  The new version 11.5 software on his systems at Velocite also allows Buck to output the "Backstage Pass" projects as a QuickTime movie which he can send to an audio sweetening facility for use as reference for their sound mixing. "They use the QuickTime version as a guide for the OMF files we provide on disk with each show and send us back a completed AIFF (Audio Interchange File Format) track," he says. "Then we just drop it onto our timeline and the project is finished."
  
  But if Buck had to single out one aspect of Media 100 that puts it over other NLE's ,it is the system's reliability. As he puts it, "I know that every time I tell it to master a show from the timeline, I can just walk away and have a cup of coffee. Once I hit 'output to tape', the hardware/software combination is so solid I never have to worry about dropouts or missing multilayered scenes. That is critical for a schedule like ours when we absolutely have to deliver material either to a major network or our clients on deadline."
  
  Buck gives Media 100's new owner, Boris Yamnitsky, a lot of credit for keeping the editing software ahead of the pack.

• 
  Media 100 Breaking Through - [Cached Version]
  Published on: 5/16/2008    Last Visited: 9/15/2008  

  "Everything we do is critical and under deadline", says John Buck, owner of Velocite, a major post facility serving clients all over "Down Under".
  ...
  During those days Buck was running the Media 100 board-and-software set on a Macintosh Quadra 840 with a 3 gigabyte hard drive digitizing source material off borrowed Betacam decks.But since then his Velocite facility has purchased three standard definition Media 100 systems and one Media 100 HD Suite running the new vers. ion 11.5 software just released in October 2006.He's convinced that his company's success has been due in large part to two things: having a good accountant, and the amount of features Media 100 offers for the investment.
  
  "Without question, being an early adopter of Media 100 was the best decision I have ever made," Buck says.
  
  Buck finds one of the strengths of the Media 100 system is its shallow learning curve despite its professional features."When I'm training new editors I tell them not to over think the process," he says.
  ...
  But that's only the beginning, since Buck and his editors at Velocite simultaneously remaster "Backstage Pass" in 4 X 3 format to become part of Qantas Airline's in-flight entertainment programming on flights out of Australia.
  
  "Qantas does not want to letterbox the material they show their passengers, so Media 100's ability to output multiple formats from the same timeline is key for us," he says.
  
  The new version 11.5 software on his systems at Velocite also allows Buck to output the "Backstage Pass" projects as a QuickTime movie which he can send to an audio sweetening facility for use as reference for their sound mixing."They use the QuickTime version as a guide for the OMF files we provide on disk with each show and send us back a completed AIFF (Audio Interchange File Format) track," he says."Then we just drop it onto our timeline and the project is finished."
  
  But if Buck had to single out one aspect of Media 100 that puts it over other NLE's ,it is the system's reliability.As he puts it, "I know that every time I tell it to master a show from the timeline, I can just walk away and have a cup of coffee.Once I hit ,output to tape', the hardware/software combination is so solid I never have to worry about dropouts or missing multilayered scenes.That is critical for a schedule like ours when we absolutely have to deliver material either to a major network or our clients on deadline."
  
  Buck gives Media 100's new owner, Boris Yamnitsky, a lot of credit for keeping the editing software ahead of the pack.

• 
  Media 100 Version 11 Systems Gain Momentum - [Cached Version]
  Published on: 11/17/2006    Last Visited: 5/8/2009  

  A Media 100 post house with offices in Sydney and Shanghai, Velocite owner John Buck is an MTV award winner and a Media 100 user since 1994.

• 
  Media 100 Version 11 Systems Gain Momentum - [Cached Version]
  Published on: 11/17/2006    Last Visited: 9/15/2008  

  A Media 100 post house with offices in Sydney and Shanghai, Velocite owner John Buck is an MTV award winner and a Media 100 user since 1994.

• 
  Media 100 Version 11 Systems Gain Momentum - [Cached Version]
  Published on: 11/16/2006    Last Visited: 11/17/2006  

  A Media 100 post house with offices in Sydney and Shanghai, Velocite owner John Buck is an MTV award winner and a Media 100 user since 1994.

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  Media 100 sw Drives On-Location Edit For Chevy Spot - [Cached Version]
  Published on: 5/16/2005    Last Visited: 5/16/2005  

  John Buck from Australia's Velocite Editorial, who worked with Toogood most recently an award-winning campaign for STA Travel, used an early version of Media 100 sw on an Apple G4 laptop and on an Apple G5 tower to cut "Sweet Dream."
  ...
  "We took an educated guess on using an early version of the new software ahead of its NAB 2005 debut, but my experience with Media 100 over the past seven years was that the product would be robust and reliable, and it turned out to be just that," said Buck.
  ...
  After editing, Buck took the EDL generated by Media 100 sw into telecine for final grading, and finally on to a local post-production house for compositing enhancements.

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