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Focus – Light Iron videos
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[Aindreas Gallagher] “but the mad thing is burt lancaster’s speech at an hour and nine minutes? relative to bush, blair and Iraq – particularly blair’s dodgy dossier – it’s crazily on the nose. I actually just paused it to post. Lancaster really knows how to deliver a line as well.”
It’s actually a fine movie, ignored in it’s time for it’s politics, which as you said are dead on accurate. The director, Robert Aldrich, while known for his action films – The Dirty Dozen – was very political in his own way. He made a “western” with Burt Lancaster called “Ulzana’s Raid” which is a very thinly veiled allegory of the US involvement in Vietnam. It’s also a great movie.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[tony west] “Once again, don’t ask me, ask Jan”
I’ve actually had that conversation and his response was that X “keeps you in the zone” when you are editing. I completely agree with that and see it myself when using X. I’m not sure that’s exactly the same thing as meaning that you can stay in X to do mixing or color correction, but you can’t in other NLEs.
Remember, this is feature film editing we are talking about, so mixing and color correction is only temp. Certainly you *could* do finishing, just like you *could* do it in other NLEs. The way modality is designed in X, many of these tasks are more fluid to access and perform than in some other apps. In X, you are not straying too far from the editing task at hand, when you quickly duck volume or brighten exposure, for example.
However, this is a very subjective point-of-view, as editors who favor other options will say much the same thing about their choice. These are just tools and some fit better with some folks and other tools better for others.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Aindreas Gallagher] “FCPX users mystical notion of their own courage and genius for using a particular piece of software seems as strong as ever?”
Gee. Project much? Now you’re just making stuff up.
Anyone who chooses an NLE, or any other software, as a political or personal statement, is a moron. Period. Full stop, as you Europeans say.
Conversely, trashing or refusing to acknowledge new or different software for the same reasons is equally moronic.
I know the people who made the software decision at ABC. The choice for Premiere resulted from a long-considered and politically fraught process dominated by fear, personal preference, anger, internal politics, a certain amount of laziness, and not a little desire to make a statement.
But that decision says absolutely nothing about you or any others who have embraced Premiere over the last couple of years. Nor does it say anything about those who have embraced FCPX.
I love mockery, at least when it’s well-deserved. But the funny think about mockery is that it requires a firm foundation upon which to stand. Now might be a good time to check.
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I feel I should point out now, yes overall now is the point I think – that I was just rabble rousing old X canards from the cheap seats here?
er. What the hell is the directorial team from the studio feature Focus doing here? Is there any kind of easily available back exit I could use? Bueller?
anyway – crazy to see a descent from the gods – also fierce interesting reply to walter there. So X is great, everything is great, and if everyone would look to their left there is a giant moose… and I am neatly gone stage left by god.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Charlie Austin] ”
I think you (and Tim) might be misinterpreting Jeff’s meaning when he uses the word “inertia”. I don’t interpret it in the the way you do at all. Here’s an example of inertia. People clinging to FCP 7, resisting learning Premiere, X, or anything. I live in this world. “You know you are still using inertia in a negative way right? 😉 Associating it with people clinging to something. There are certainly people like that, but there are also places where the investment in time, resources and money was so heavy in the old FCP that
For example, a buddy of mine works at a large facility that uses Fork as their DAM and they have custom code that bridges the gap between Fork and FCP 7. Just going from FCP 6 to 7 was delayed because the custom code had to rewritten due to some under the hood changes in FCP. I’m taking a wild guess but I’d say the company has hundreds of thousands of hours of footage (some going back nearly 100 years) in their DAM, it’s a year round operation (with daily broadcast deadlines), and they have a decent sized roster of editors. That’s inertia.
I’ve worked at a number of large facilities like this (some of them owned by giant parent companies) and things move at a glacial pace for a variety of reasons. Maybe it’s the editors not watching change. Maybe it’s the boss not understanding the new tech. Maybe it’s multiple layers of red tape at corporate HQ that your capital expenditure request has to survive before you are okayed to make the purchase. Who knows. That’s inertia.
How do you bridge the gap between the thousands of FCP 7 projects sitting in archive and the new projects? Many times I would pull an old FCP project from the archive and repurpose those assets in a new project. What’s the cost of training everyone on the new system? If you need to expand or replace people how deep is the local talent pool? Find a seasoned editor in LA that knows the of FCP or Avid? Easy. Find a seasoned editor in LA that knows PPro or X? Eh… not so easy. That’s inertia.
Some shops are like smaller ships that can dart around pretty quickly and some shops are like oil tankers that have to plan each move miles in advance.
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[Aindreas Gallagher] “that’s one of the charles/ray eames ones right? There’s a decent doco on him and ray from 2011 – james franco narrates because james franco. that exhibit must have been utterly crazy to see at the time you’d think.”
Yes it was designed by the Eames’s. I was about 14 at the time and lived in NYC so I was at the fair literally dozens of times. The IBM exhibit was a big deal but the thing I remembered most about it was you could get a copy of the front page of the NY times from the day you were born – that impressed me a lot more than the huge egg shaped theater and the mutli-screen presentation.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Oliver Peters] “his response was that X “keeps you in the zone” when you are editing. I completely agree with that and see it myself when using X. I’m not sure that’s exactly the same thing as meaning that you can stay in X to do mixing or color correction, but you can’t in other NLEs. “
I concur, with both Jan’s statement and your last sentence. As to the first, I’ve been working in Both X and Pr side by side lately. Literally CMD TAB-ing between the two cutting different spots for the same movie. It’s subjective, but there is a huge difference in “feel”. And while you can of course accomplish the same tasks in both, for me, X just gets you as good or better results (effects, audio adjustments and other clip manipulation, not “editing”) faster, with way less fiddling around. Not to say the opposite isn’t sometimes true… it is. But in general, for what I do, my focus (see what I did there?) remains on the cut more in X than in Pr. (or 7 for that matter). I think that’s where some of the intangible “faster in X” mindset comes from…
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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Oliver Peters] “OK, that’s not even remotely close to true.”
What’s not true about it?
Those “looks” that are in X were not in legacy. Are they still updating color? What are you talking about?
[Oliver Peters] “You mean in Premiere? It’s an option of course, but today, I still have superior audio mixing capabilities inside Premiere Pro than I do in X.”
Yes, but it appears he cut a superior film than you have cut without it.
[Oliver Peters] ” I just don’t see how X keeps you in the program any more than any other NLE does. “
Then you need to ask him that. Because that’s what he said. Why do you think he said that?
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I do love aldrich. the killing of sister george to the dirty dozen is kind of hard to take in. Him and Nicholas Ray and all.
Also what in God’s name is Glen Ficarra doing down here. We could have baked a cake, and I could have made slightly less dodgy arguments on the director editor relationship.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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Shane –
Totally agree that marketing-speak is a pox upon our industry. No matter who spouts it. The crap I’ve waded through in articles and press releases and reviews of products from Avid to Adobe to Apple to makers of archive systems to raids is mind-numbing.
I tend to look at presentations like this one with a fair amount of skepticism. Somewhere underneath all the babble may be some good information. I still think Cioni is onto something really good and certainly evolutionary, if not revolutionary. But like Evan whats-his-name in New York, he’s doing a lot of marketing during his talks. I get it, and I’m happy to look beyond it to get to the good stuff.
It’s unfortunate that so much discussion of X is overlaid with the need to defend it against the “it’s not professional” meme. What a waste of time. So much more interesting to focus on HOW X can be integrated into a professional workflow that WHETHER it can or how great it is or whatever.
– Until 8.3, Avid really couldn’t deal with large frame sizes effectively. X and Premiere always could.
– Until X2Pro, X couldn’t really output audio in a modern industry standard format for mixing. Avid could for a very long time.
– Until Premiere got it done, no one could do an open-format timeline. Avid still can’t really do it effectively. X mostly does.
– Interchange of media and sequences between NLEs is a manufacturer-created and curated nightmare.These are things worth talking about, without PR bullshit.
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