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Michael Cioni on X and modern workflows for NAB 2016
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[Dom Silverio] “All AE time.”
Depending on the task though AE time can certainly impact editor time. How quickly can dailies be prepped for the editor? How quickly can an AE build a string out for the editor? Find a certain shot? Do some some temp sound design or temp VFX? The longer it takes the AE the longer the editor has to wait. Even for tasks not directly for the editor (such as sending shots to the VFX house) can still impact editor time if the editor has to wait for those tasks to be done before the editor can get help from the AE.
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[Robin S. Kurz] “In Internet slang, a troll (/ˈtroʊl/, /ˈtrɒl/) is a person who sows discord on the Internet… “
Oh yes, I know. But truly successful trolling should be virtually transparent, or invisible, at first glance. So I would suggest DRW’s harrumphing isn’t really good trolling at all. Just garden-variety hissing and spitting at something he doesn’t understand and doesn’t to understand.
Ultimately, tiresome and of little value. Not to mention condescending.
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Nailed it.
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[Bill Davis] “This is your view from the outside. […] …it’s fair to assign more weight to the opinions of people who actually have experience with how a system really works, over the opinions of those who don’t. “
Bingo. Can’t wait for the day when the usual suspects actually start making comparisons and judge things that they are factually even in the position to objectively do.
[Bill Davis] “and $399 App Store software”
Actually… either $299 or $397 ;-D [scnr]
(assuming you’re referring to just the Apple suite of apps)– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Bill Davis] “I get that you and a lot of others can’t see how X…”
Not sure why you are bundling me with the “usual suspects” since I don’t really engage in the whole FCPX viability debate here or any where else. I was specifically addressing Mr Cioni’s general sales pitch.
While I don’t doubt that Tango staff had an incredible workflow that benefited them, his over the top statements (“very unique”) is a little hard to swallow, at the very least very disingenuous especially coming from a man very well versed in the technical things of our industry.
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[Dom Silverio] “his over the top statements (“very unique”) is a little hard to swallow”
Which is imho an ironic statement, seeing that that exact fact, the fact that FCP X follows a very (i.e. too) “unique” paradigm that so many are unwilling to adapt to, apparently makes FCP X as a whole “too hard to swallow”. So how can his overall claims be so for out? (feel free to be specific) I for one completely agree. They used various tools that are 100% UNIQUE to FCP X or rather only have any real use in the context of X. E.g. Lumberjack et al for example. And I’d love to see how you do even half the stuff he describes they did in terms of metadata and organization (e.g. with audio) with any other NLE. So again, unique, and very much so, yes.
And I’d have to question if you yourself have even ever used FCP X for any extended period of time, let alone in actual production? Because if not, then how exactly do you figure you can even be the judge of whether what he is saying is so totally over the top or “disingenuous” or not? There’s no way you could, since 80% of what he describes couldn’t possibly have made much sense to you. That would be like me judging someone’s surgical techniques, without ever having studied even one semester of medicine.
It’s like Michael says himself: “You have to understand the context of how to USE the tool, in order to open up doors that you’ve never had access before.” And that BECAUSE he is in fact “very well versed in the technical things of our industry”, yes.
But then I don’t even get how his video could be misconstrued as a “sales pitch” seeing that he doesn’t sell FCP X. And the Light Iron hard and software is completely NLE independent. So that strikes me as a rather odd (and typical) strawman.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
We need a sticky at the top of this forum page saying “If you haven’t used FCPX then your opinion isn’t valid”
On an unrelated note https://www.youtube.com/watch?v=PcUBpgmHgcg
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I went to the Light Iron discussion on the FCP X workflow for the movie “Focus” where Mike Cioni was impressed with FCP X back then. Perhaps when producers and execs realize the shear economic difference of having an FCP X focused workflow, they will more readily jump in. It makes no economic sense not to use FCP X when it comes to the price per frame (as Mike Cioni of Light Iron puts it). There are some scenarios where I still see value in both AVID and Premier Pro/ AE. FCP X isn’t perfect, but the updates have been plenty and keep coming. Leveraging Apple Motion with it to create effects, transitions, generators, etc. for FCP X has been a great workflow help as well.. Third party developers (even casual ones) love it because they can make professional plugins for it just using Motion or their own programming skills.
Granted there are some things that are intangible such as muscle memory and familiarity of the NLE being used, but having used AVID, Premier Pro, DaVinci, and FCP X and have yet to use anything that let’s me freely work as fast and efficiently while maintaining focus on the story as FCP X. Having it at the center of our workflow has been a boon. It’s still an uphill battle for many though because it’s so unfamiliar to the old[er] way of doing things in an NLE.
Change is good though. Competition is good. Keeps us on our toes and continuously learning.
This was form last year I believe where some sentiments were echoed:
https://www.youtube.com/watch?t=1282&v=hmTsTx7Ux8g
(12:00-17:50)
Specific points:
(13:35) – sound turnovers
(23:30) – about effects
(33:03) – about time and creativity
(36:55) – quality of software
(37:20) – Warner Bros. reaction to FCP XTangier
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Sure thing.
(content deleted)
(I rethought my post. Far be it for me to criticize the work of others. I didn’t much like the attached work, but i IS original work and as such, deserves respect. I got pissy because its all too easy to just criticize others with a boilerplate term like Fanboy, and the answer is not to criticize THAT, it’s to articulate the reasons for disagreement. So, sorry. original language retracted..
The rest stands.)Yep, I did become a Beatles FANBOY at 14. I also became a Springsteen FANBOY at 18 or so. I was also big on a whole random group of artists over the years including the Turtles, Simon and Garfunkel, Dave Brubeck, Emmylou Harris, Gene Kelly, Annie Lennox, Eric Satie, Rodrigo y Gabriella (particularly Gabriella’s astonishing right hand!, Richard Blanco, and a hundred other people and things I’m too tired to type out.
Becoming a fan ROCKS.
It’s discovering something that makes you happier than the other stuff your comparing it to.
I hope I NEVER stop being a fanboy and I hope I never run out of things to be a fanboy of.
Shoot, even the things I spent some time kinda being ashamed to be a fan of, (The Monkees and Donovan, come to mind) I now look back on and realize that the REASON I’m a fan is not necessarily the quality of the work – but what it meant to me in the context of the times.
If one of the signature qualities of ART is that it changes those that experience it, then the fact I can still hear the 3 simple chords of the Monkees theme song – “Here we come….walking down the street…” and it still makes me smile today – then who am I to reject that small injection of free joy in my life?
Hard enough to find that.
So excuse me if I let my FANBOY flag fly as often as possible.
Not to would kinda mean that I’ve STOPPED looking for things that excite me and that feel special and that I can maybe grow to love.
And who the f*** wants to live like that?
FWIW.
New signature under construction and coming soon. Please stand by…
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[Bill Davis] “Hard enough to find that.
So excuse me if I let my FANBOY flag fly as often as possible.
Not to would kinda mean that I’ve STOPPED looking for things that excite me and that feel special and that I can maybe grow to love.
And who the f*** wants to live like that?
“Good grief, lighten up Bill!
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