-
10.0.6 a significant turning point.
-
[Jeremy Garchow] “There’s a lot of “fit and finish” left to be done, there’s no question about that.”
“the piop thing was weird though – I argued the hell for that in vague ignorance – but I sort of didn’t expect the kind of return it got. Again, I’m not spending enough time with it really, but apple’s engineering reply to the question of persistent cut points seemed to be ranges everywhere.
it just felt a weird response. They bult FCPX in a hermetic bubble, and their response to issues regarding persistent cut points came out of the same?
I’ve messed with the ranges, and setting multiple sets, and it feels like thinning intellectual soup.
its just multiple ghosted ranges. Its like they just decided to degrade their own methodology.god knows what happens to secondary story lines now, in a frankenstein sense.
bottom line – Apple were on marshy, intellectually dodgy, imovie land to begin with. fit and finish is the least of their worries.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Aindreas Gallagher] “but I sort of didn’t expect the kind of return it got”
I didn’t expect the multiple ranges, but this functionality is exactly what I was afraid of.
What exact did you expect if the current implementation isn’t what you thought it would be?
-
The fact that the image shows an image in front of legacy, can be directly translates to the real world. Though we all want to, and try to embrace FCPX in our daily work, the fact that non-user-friendly solutions, like creating disc partitions keeps us away from it many times. Just like most of us wouldn’t accept having a car that needed to be push started every time we wanted to go for a ride…
– No Parking Production –
2 x Finalcut Studio3, 2 x Prod. bundle CS6, 2 x MacPro, 2 x ioHD, Ethernet File Server w. X-Raid…. and FCPX on trial
-
[Jeremy Garchow] “What exact did you expect “
thats the thing – apple threw out so much susbtructure – assignable tracks – open timeline etc – they’ve already radically boiled down all the methodology,
if aspects of it turn out not to hold up in the real world, I’m not sure they have room to manouvere.
the thing about an open, tracked, non magnetic timeline, is that you can work it any number of ways – it invites multiple approaches.
Apple’s reduced simplified methodology is extremely restrictive – for them and us. if it turns out not to hold up, I don’t think they can unscramble the eggs. ranges, ranges everywhere in the event browser kind of shows that i think.
The example I find more telling is the way they bodged range selections for export on the timeline – they boiled so much of the timeline infrastructure away that, in order to make a range selection – you have to select an object range within the primary or secondary, or connected. they cannot see a way to impose in out range markers, for the timeline itself – which is the proper thing – because they blew so much of the timeline away. The range selections are counter intuitive – it looks like you are making a range selection within the primary – there is no way to indicate the selection feeds up into the secondary, connected clips, because apple have no way left to impose that kind of global selection. even though that is what is actually happening.
Literally all apple have left are object selection ranges.
I think it begs very direct questions about this whole “it will mature into a world beater”
frankly, I think apple are already at or near the conceptual seams of the over simplified corset they put their editing software in. they have to know that timeline range export is an intellectual bodge, that can’t have felt great, but they didn’t see another option. they had eighteen months to think about it.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Aindreas Gallagher] “frankly, I think apple are already at or near the conceptual seams of the over simplified corset they put their editing software in.”
You are ignoring the fact that if you hit i then o and export, exactly what you marked is exported.
A rose is still a rose.
I’m asking, specifically, what you thought PIOPs might be if they aren’t what you expected.
I also think, as was mentioned many times in the past, you need to get your PIOP definition straight.
I don’t think you want persistent in and out points, you want global in and out markers. GIOMs 😉
-
I’m just going to suggest that none of you must have ever worked directly in advertising or been around publishing very much.
In that real world, you’re extremely lucky if what the art department does in layout directly relates to your copy.
Don’t get me wrong, they try tremendously hard to do things right. But the vast majority of the time they’re looking out for THEIR job – which is to make something visually appealing and attract readers to the page.
Disconnects between art and copy are so common as to be the norm.
This is coming from a guy who owned an advertising agency for more than a decade and who was a contributing editor for a magazine for a similar period.
So sorry, but this part of the thread in nothing but another example of someone (Chris H. here) looking to push the facts to suit their worldview.
Take just a second to LOOK at the photo. Yep, real editors, when the photog show up are ALWAYS working at a desk without a single scrap of paper, pencil, stain, or coffee cup, and with every cable perfectly dressed. Right?
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
-
[Bill Davis] “I’m just going to suggest that none of you must have ever worked directly in advertising or been around publishing very much.
In that real world, you’re extremely lucky if what the art department does in layout directly relates to your copy.
“What kind of ad shops have you been involved with Bill?
I’m owner and creative director of one and what you describe is more like anarchy, and a pretty shitty agency.Everything we do, whether it’s design for web or TV or film or print are, of course, all integrated -concepts, copy and production.
A creative job would never leave a designer let alone my shop without seamless integration of concept, copy and visuals.
That’s what any good creative director insures.
I’ve had many writers, designers and editors work under me and whether they were top talent from around the country or interns in school I’ve never worked with one that didn’t understand this basic concept.
-
[Jeremy Garchow] “I don’t think you want persistent in and out points, you want global in and out markers. GIOMs ;)”
nay, sir – I’m saying apple can’t produce either because: i, o, is simply a keyboard shortcut to define a range now, not valid individual in out cut points. the range is all there is.
It can’t be a cut point on the clip – as Lawrence has clearly laid out, the cut point is gone – it has to be a range, and i o can’t act to perform global selection on the timeline, because, again my friend, it can now be nothing other than a specific range selection.
the range is all apple have left themselves – that’s the corset.
as the scottish would say – do you ken what I’m saying son?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
Semantics brudda. You can export in to out.
It used to be broken, it’s now fixed.
Apple could add a global in/out to the timeline, the framework is already there.
What would be the point if you can do what you need now?
-
[Jeremy Garchow] “Semantics brudda. You can export in to out.”
and.
no.
Lets take a use case.
I’m on a basic lower third connected to b-roll say right? noodling away, I just blade it to shorten it, (and watch the cut lower third tail overhanging the connected clip ridiculously re-attach itself to the primary, but anyway,)
I now think to export a range.
so here for you is the problem – I, focused on the lower third in my mind, cannot simply extend the export range in my head beyond the lower third with my range selection – range selection stops when the video objects stop.
I need to realise that there is no timeline outside the objects. I must return to the available footage area in the primary to make the extended selection.
Apple have completely evacuated the timeline outside the objects in the timeline. there is no air out there.
[Jeremy Garchow] “Apple could add a global in/out to the timeline, the framework is already there. “
that statement feels close to seeman saying that the future extended database is the source of cold fusion.
In short – Apple have real, critical, semantic editing problems and limitations. problems they created.
And problems they are not, given the scale of the lead in time involved here (3+ years) likely to fix.
This is not robust, new, open skies software from apple – this is a reductive use case one time craps bet, that is currently hamstrung by its own limitations and is also, lest we forget – a market failure. apple have three guys on a website. not so much.
Apple, I honestly think. have dangerously little room to grow the core concepts, because they are not core concepts of anything – they are boiled down reductive phraseology. If you miss the mystical every one is happy with the gruel mark – you pretty much lose professional adoption, and you also lose realistic ambition.
you don’t get to expand a secondary storyline – its done.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
Reply to this Discussion! Login or Sign Up