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Apple getting ready for the coming new MacPros?
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I would add, that under Cook, the anti-enterprise attitude at Apple seems to be softening and/or mitigated. This is an example, I believe, along with others, like Apple’s slightly more visible presence at NAB. Not exactly the same as in the Xsan days, but certainly improving from where it was 5 or 6 years ago.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “I see this statement made a lot. Just to be clear. EVERY NLE made was an NLE built on top of a database. No exceptions, except maybe traditional film cutting. Even there, editors had codebooks (database).”
Sure they all function behind the scenes using database techniques. If you expand the idea far enough a 1950s library card catalog is a “database” too – but that’s in no way germane to the discussion at hand.
A card catalogue wastes time in the modern era scale of expectations. And until you can show me another approach with a better system of user driven functionally for recalling shots instantly as you need them with absolutely minimal friction – like X does via its clip range tagging system – It’s a distinction with a huge practical difference.
Subclips – the traditional way to separate out subsets of footage in older NLEs – has a mere fraction of the power of truly integrated “right in the app” ranged based keywording.
That was my point.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “That was my point.”
Saying that X is built on a database but expecting readers to infer that you mean that X has range based keywording is expecting a quite a bit. Maybe just say that X has range based keywording next time? 🙂
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[Andrew Kimery] “Maybe just say that X has range based keywording next time? :)”
Which is all very nice, but simply a variation on a theme. It’s the same as subclipping, but with one keystroke removed ☺ In fact, I would suggest that pulling multiple ranges (or subclips) from within a single clip is kind of meaningless. The true innovation, from the POV of databases, is that I can have the same clip appear in multiple locations (Bins, Events, etc.) based on keywords and sorting.
– Oliver
Oliver Peters – oliverpeters.com
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If all the Hollywood shops all of the sudden switch to X, more likely they’ll just train experienced editors in their respective mediums to use X, rather than hire an editor just because they know the kit.
Avid shops hire FCP 7 and Premiere people all the time and vice versa with the assumption that if their hiring a competent editor, the tool doesn’t matter. A few days of working out the kinks is worth it to them for a talented editor. See it happen all the time.
Still waiting after almost 7 years to see X out in the wild here in LA. Obviously Charlie Austin is using it and using it well to deliver high end marketing work but he’s the only one I’ve heard doing so and I hear people talk about X here. When’s the shoe going to drop ?
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And I’d argue that you are WAY underselling what Apple created by exposing so much of the database to the user by way of its implementation in X.
It’s systematic in a way no other NLE is – at least as I understand it.
Or can you call up something like the Keyword HUD and get instant confirmation of the attached metadata tags applied to any frame in Premiere? Can you concatenate collections via search terms rules (ala Smart collections) and recall those new pre-curated assets instantly for single keystroke deployment Into your edit without anything destructive happening in Davinci? Can you apply momentary temp search strings – apply an ascii graphic like a red diamond to the collection then use that as an editorial team communications flag?
I’m honestly asking since I don’t use those programs.
Not being familiar with the other programs, perhaps you can – but I’ve yet read of stUff like that touted in ANY but X workflows.
Re-arranging the same traditional approaches via pancaking and stringout management is about the extent of what I’ve read about from the other NLE camps.
If innovative stuff like this is happening in the other NLEs please describe it for me.
I’d love to be educated about how the Premiere or AVID editing operations are improving and evolving.
In my morning reading I came across a snippet on Digg about the announced demise of Flash in a few years.
Matthew Olsen wrote:
“This is just another step in the long, slow death of the old internet — each retiring bit of technology puts countless creative works at risk of vanishing. Some of these will be dutifully archived by way of conversion or emulation, but many will just cease to be.”
A version, perhaps, of “evolve or die?”
So how is your NLE of choice evolving? I know how mine has – and continues to.
Anyone want to school me in this?
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Neil Goodman] “When’s the shoe going to drop ?”
Perhaps you’re just monitoring sources pre filtered by your bias?
For example: The project that David Tillman cut entirely on X nearly two years ago for Chuck Braverman’s OJ Simpson, The Lost Tapes project – Just snagged a couple of Emmy nominations a couple of weeks ago.
In the X community we’ve been discussing projects like that and a LOT more for years.
But in case you haven’t noticed it – media access has become largely “Balkanized” with people (wittingly or not) increasingly walled off from anything their Google use patterns say they won’t act on as readily. So the information street you see gets narrower and narrower.
It’s how information access works now.
As an X editor – I see TONS of X content from all over the world.
In order to see stuff on Premiere or AVID – I have to actively seek it out via effort.
That’s just the new normal.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “And I’d argue that you are WAY underselling what Apple created by exposing so much of the database to the user by way of its implementation in X.
It’s systematic in a way no other NLE is – at least as I understand it. “Well… I’m not in the “selling” mode ☺
[Bill Davis] “Or can you call up something like the Keyword HUD and get instant confirmation of the attached metadata tags applied to any frame in Premiere?”
Some of this, yes. Premiere, for example, stores and can display a massive amount of metadata per clip. And there is a specific Metadata panel to see it, along with columns in the project browser. Does it do it in exactly the same way as X? No. But then X misses a lot, too. Like dupe detection in the timeline.
I have no issue with what X does, regarding its database. ProApps has done a very elegant job of presenting a modern, relational database to the user. It’s very Filemaker-esque. No criticism of that. My point has been all along that each NLE uses a database and they all choose to do different things with them. Although we have talked about Media Composer, Premiere, and others, having a spreadsheet-style display/manipulation of their databases, that’s a pretty inadequate description.
Take, for example, a Media Composer bin. In the thumbnail view, I can visually re-arrange clips based on personal sorting order. Want all the best takes at the top of the bin? Simply slide them there and move all the rest lower in the bin’s panel. Freeform – just like rearranging files on your desktop without the OS set to straighten them up. Can’t do that in X. Or another example is in Resolve. Graded clips can be displayed in a light table-style display. My point isn’t that one way is better or worse – merely that each company chooses to utilize the underlying database in often very unique ways.
But I think we were actually talking about Apple’s outreach to the professional, enterprise-class, creative community. ☺
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “In order to see stuff on Premiere or AVID – I have to actively seek it out via effort.”
I get the rest of what you are saying, but on this – huh? As far as Avid, you must have blinders on. As a product in this space, they tend to get more press than anyone else, given the amount of entertainment content touched by either Media Composer and/or Pro Tools.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “As an X editor – I see TONS of X content from all over the world.
In order to see stuff on Premiere or AVID – I have to actively seek it out via effort.”
Bill, I’d like some of what you’re smoking.
Wikipedia lists seven tv shows cut on FCPX since 2012. I’m sure that list isn’t complete or up to date but at the same time it certainly doesn’t lead one to think that it’s trending upward within the tv or film industry.
I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles
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