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Photoshop CS6 Beta released, with magnetic timeline!
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[Bill Davis] “Watch out David…
You’ve just described “magnetism” using the word “nice.”
That could eventually come back to haunt you.
; )”
LOL, I have no problem with ripple Bill. I just like being able to turn it off during the 90% of the time I don’t want or need it. 😉
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David Lawrence
art~media~design~research
propaganda.com
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[Dominic Deacon] “The revolution is in taking away the ability to turn it off.”
I accept that. And if the way you think about editing isn’t such that you can accept and thrive in a timeline with “always on” magnetism. Then you’re down to 3 major and a passle of minor choices – which is hardly a “make or break” situation.
If you, your work requirements and the habits you’ve developed over your editing career CAN adapt, then you have available an excellent new tool that you can explore and use very productively.
I acknowledge that some folks can’t do this. Their machines, their projects, their workflows, or merely their particular brains can’t successfully work with X.
My experience has proved to me that I can.
It’s all I edit on. And I haven’t missed a deadline yet. The checks keep arriving and I keep learning every week about the depth and fascinating architecture that I keep uncovering behind the new application.
That’s enough for me.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Bill Davis] “Not if the 10 are useful to the vast majority of everyday editors – and the 20 are critical to only those who have niche “big facility” needs.”
Range export, persistent in/out points, audio sync markers are about as “everyday” as you can possibly get.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
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[David Lawrence] “Range export, persistent in/out points, audio sync markers are about as “everyday” as you can possibly get.
“And are worth jettisoning if the trade-off is eventually building something new that meets MORE needs than the former program did.
An hour ago I was able to update a corporate video for a national health care client with a single click using the “share” menu in X and Vimeo Pro. No creating a standalone file. No FTP, No YouSendit, No hassles.
I was able to “publish” a revision directly out of X for clients access – with full password protection – instantly accessible in all their offices around the country by any stakeholder I wanted to send the password to via email – all with just a couple of clicks.
Things are changing.
I still think the team behind FCP-X understands those changes better than the competition, thus far.
Time will tell.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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A timeline in Photoshop just seems immoral.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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[Bill Davis] “And are worth jettisoning if the trade-off is eventually building something new that meets MORE needs than the former program did.”
Nope. They’re essential NLE functions. Good design doesn’t drop the essentials, it builds or improves on them. Calling it a trade-off is a false assumption. There’s no trade-off. All these essential features could be included without any change to the way the program works.
[Bill Davis] “An hour ago I was able to update a corporate video for a national health care client with a single click using the “share” menu in X and Vimeo Pro. No creating a standalone file. No FTP, No YouSendit, No hassles. “
Not impressed. I’d gladly trade the “share” to Vimeo button for range export — a function which is far more useful and necessary on an everyday basis.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
[David Lawrence] “Not impressed. I’d gladly trade the “share” to Vimeo button for range export — a function which is far more useful and necessary on an everyday basis.”
We just disagree on this.
A single choice that only allows you to “chop off” a chunk of your video – removing it from further revision and refinement is, in my opinion an increasingly limited construct.
Duplicate the timeline in it’s current state, truncate it as you like, and simultaneously maintain all the source connectivity, control and ability to revise and amend – is, in my humble opinion, a vastly superior model that will meet the needs of many more types of editors as we increasingly move into a persistently connected future.
It’s a physical videotape or DVD, verses an app in the iTunes store or a movie on Netflix.
One stays as it is forever, frozen the moment you create the file – unchangeable. The other can be “refreshed” instantly by simply pushing out a new version – and the instant you do that, everyone coming to the purchase point has access to the new one rather than the old one.
In fact, think about the NetFlix example more closely. Remember those physical DVD rental movies in the old model? Remember how easy it was to rent a year old movie and be forced to scan through “coming soon” promos for films that were a year or two old?
In the modern “connected” NetFlix world? If they decide to push a promo at some point, its at least going to be a current promo. And will refresh as needed.
That’s the “connected” model in a nutshell.
I think that’s the correct trend in content consumption.
We’ll see.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[David Lawrence] “[Bill Davis] “Watch out David…
You’ve just described “magnetism” using the word “nice.”
That could eventually come back to haunt you.
; )”
LOL, I have no problem with ripple Bill. I just like being able to turn it off during the 90% of the time I don’t want or need it. ;)”
I’m just so confused here. Bill’s doing hyperbolic handstands because he seems to believe that Adobe has cribbed Apple’s wonder tool into Photoshop, but all I saw was a couple of clips being moved around on a single track/layer and Rippling when they were. I thought the Magnetic Timeline hoopla was all about attaching clips and bringing them along for a ride, attached audio and video moving out of your way, and the ability to drop relatively complex clusters of clips pretty much anywhere without the danger of clip collision. Sort of Ripple on steroids, animal tranquilizers, and dust from the pulverized planet of Gallifrey. All I saw in the Adobe spot was a bit of decade-old Ripple. Not that light NLE tools aren’t a fine feature to add to Photoshop; I know there are times I’ve wished they were there. But, what is Bill on about? Am I missing something? Is there some slight of hand that I’m not attuned to in the video? I mean, I really can’t see it.
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[Robert Brown] “A timeline in Photoshop just seems immoral.
“I find it sexy. But I’m that kind of guy.
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[Bill Davis] “A single choice that only allows you to “chop off” a chunk of your video – removing it from further revision and refinement is, in my opinion an increasingly limited construct.”
There are thousands of reasons why an editor might want to export a range as new asset. That’s all we’re talking about. Save a new piece of media. The idea that it’s “removed from further revision and refinement” is a completely meaningless statement.
[Bill Davis] “Duplicate the timeline in it’s current state, truncate it as you like, and simultaneously maintain all the source connectivity, control and ability to revise and amend – is, in my humble opinion, a vastly superior model that will meet the needs of many more types of editors as we increasingly move into a persistently connected future.”
The idea of duplicating an entire project to spit out a 5-second clip is laughable. Want to do that every time you need an asset? Knock yourself out. Vastly superior? Um, no.
Bill, with all due respect, you’re way over thinking this. Range export is a very very simple production need. It has nothing to with delivery or distribution.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl
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