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I guess it’s So Long and Thanks for all the Fish!
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Okay, let me be clear on this:
Put three optical drives (one Blu-ray, 2 DVDs) and two internal SATA hard drive bays in your Mac Pro, please, accessible from the front of the unit.
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[Aindreas Gallagher] “Do we not have any culturally insistent and persistent craft delineations?
Writers don’t have this problem. Their keyboards are left alone. What exactly are we supposed to do here?”
If anything, I think the language we use to describe our tools and organizing principles is a touchstone of the craft. A sequence is a sequence is a sequence. A project is something else entirely. Apple is wrong if they think they can redefine the language of an entire professional industry.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
[Walter Soyka] “That said, I’d certainly agree with your general advice, which I think boils down to “you get what you pay for.””
Probably that’s the reason why FCPX is that cheap 🙂[David Lawrence] “If anything, I think the language we use to describe our tools and organizing principles is a touchstone of the craft. A sequence is a sequence is a sequence. A project is something else entirely. Apple is wrong if they think they can redefine the language of an entire professional industry.”
That’s their big mistake.
I never thought their money could make them that arrogant.
I cant recognise them.
rafael -
[Craig Seeman] “Eight months is a long time.”
No, I was saying that I’ll be editing this feature for the next 8 months, not in 8 months time. That’s how long it will take me as the footage will be drip fed.
I’m not sure what the realities are of being a professional editor in the broadcast world are as I’ve never even been to such a facility. I’ve edited 2 features and a few corporate videos for Hospitals, bars etc. and found that if you’re just using your machine as a picture editor a cheap PC is all you need. Even AVCHD footage doesn’t seem to push my system at all. Picture editing is all I do. At the end of the job everything gets farmed out to the sound guy and whoever is doing colour.
My decision on what to do was in the made for me by my DP who is more a part of that industry. He laughed when I told what people were telling me I needed and showed me what he was doing on his little PC laptop. This is a color grading tutorial he put together in Edius on that laptop that impressed the hell out of me: https://www.vimeo.com/28084356
When you’re used to FCP7 labouring it’s way through tasks on a desktop seeing someone get that kind of real time performance on a laptop is incredible and really shows how far behind the eight ball Apple was before they pulled out FCPX. And now with my work flows, simple as they are, they’re not even in the game anymore.
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[David Lawrence] “Apple is wrong if they think they can redefine the language of an entire professional industry.”
And their apologists for this divorce denigrate those that define their craft by that very language…”afraid of change!!”….it’s maddening.
Final Cut 7 really shaked my squirrel cage with it’s long legs and amble bosoms, she couldn’t run very fast, but I didn’t mind, she had so much to offer and allowed me to create my own style…
This new chick is like the bachelor party girl. I can’t touch her and she’s only giving me blue manjigglies
Where’s my wife!
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but it’s tricky isn’t it?
Everyone is using weirdly carefully language – god knows craig seeman is – there is a masking of basic discourse here.
How many times have we heard the various warbles of what the professional is or isn’t? or databases, or strategic apple something.
Sure people have received editing awards in the last three years knowing nothing of the wisdom of apple with regards to editing paradigms.
that must have been hell.
they could barely see the wisdom of Apple these editors, could barely see the fundamental truths of editing – truths from a company that could not give two flying shites if editing lived or died.
those blind editors could barely understand the wonders of connected clips, secondary storylines, or any of the other endless, worthless, stupid, lazy god-awful, prat imovie slapped in an editors face, sunday lunch bollocks apple came up with when making FCPX.FCPX is, I contend, TOTAL AND UTTER gaudy apple, ill informed, POMPOUS HORSE SH*T SOFTWARE.
and that would be the rant.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
“FCPX is, I contend, TOTAL AND UTTER gaudy apple, ill informed, POMPOUS HORSE SH*T SOFTWARE.”
Aindreas please, don’t hold back, tell us what you really think.
Herb Sevush
Zebra Productions -
Aindreas has mastered the art of message and style. He can say F-U, and still leave everyone smiling.
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gary, i’m not sure i follow you then, i certainly can put my blu-ray internal, I happen to have mine external because I’d like to be able to move my blu-ray around to other machines..
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[Aindreas Gallagher] “Do we not have any culturally insistent and persistent craft delineations?”
We do, but some just conveniently choose to ignore them, because they want to operate in a ‘anything goes’ manner. They see standards like proper lighting, using the tripod, clean edits, etc, as restrictive and old fashioned. Although I suspect it is more about lack of knowledge, or not wanting to put the time in to do it right. So now we have untold hours of material put out everyday that looks like home movies, with a bunch of plugins slapped on them.
That is one of the things that always amuses me from the ‘mad skills’ crowd who rant on about doing great storytelling with any tool, which is that they see editing as an art, not a craft. They want to live in this subjective arty world, free from standards, and criticism.
Sure, if you are a good editor you can cut something interesting machine to machine if you have to. But do you want to use an inferior tool just to prove a point, or show your ‘mad skills’? An artist can paint with his fingers, a brush or even throw paint at the canvas. And he can use found materials, paint, or even poop, a canvas or a sidewalk, because no matter what he does, he calls it “art”, for which there is no standard to say it’s not. The artist doesn’t even have to be human. Several zoo animals have sold paintings. A craftsman doesn’t work in this type of environment. A craftsman still knows what the proper tool for the job is, even if he finds himself in the position of having to make do with less. A craftsman works to an established, and definable standard, that is easily judged by his peers. A craftsman will always choose the best tool for the job, and is not concerned with being hip, or trendy, or how cool a tool is. His concern is with quality, and the ability to do what he needs to do without making excuses.
So there are those that want to be artists, and those that want to be craftsmen.
And going back to FCS vs X. I find it interesting when anyone criticizes X for lack of standard professional features, and the proponents use the ‘it’s the man, not the tool’ argument to defend X. But if it’s the man, not the tool, then why do you even need FCP X so desperately? And if you’re an artist why is it so important that your peers like and accept FCP X as your tool of choice? IMO these positions seem to be in opposition to the ‘it’s the man, not the tool’ argument used to support FCP X.Scott Sheriff
Director
https://www.sstdigitalmedia.com“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
Where were you on 6/21?
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