Randy Ubillos retires from Apple

[Oliver Peters]

[Andrew Kimery] “Do you know if Symphony has generators?”

I’m not sure if you are asking tongue-in-cheek, but no, Symphony – like Media Composer – has no color bar generator. It uses Avid color bar files that you have to import. However, those bars are designed to be correct when imported with 601/709 levels. It does generate tone, though.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Andrew Kimery]

[Oliver Peters] “I’m not sure if you are asking tongue-in-cheek”

Nope, legit question. Didn’t know if a bars generator was one of the distinguishing features of Symphony over MC (that last part was a bit tongue-in-cheek).

[Oliver Peters]

[Andrew Kimery] “distinguishing features of Symphony over MC “

Surely you jest – and don’t call me Shirley. 😉

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Michael Gissing]

[Andrew Kimery] “Do you know if Symphony has generators?”
[Oliver Peters] “It uses Avid color bar files that you have to import. However, those bars are designed to be correct when imported with 601/709 levels. It does generate tone, though”.

thanks Oliver. I don’t know Symphony as I don’t work with it at my facility. Files that are correct gamma & color space in an application work well. If you have a system that can work in frame sizes from SD through to 4k it is nice to have color space accurate generators but files can work in any NLE.

I too have argued for years that in a digital world, the need for bars & tone is almost over but I do realise they can have other use and are still delivery requirements regardless of what anyone thinks from editors to NLE software engineers.

[Bill Davis]

I still don’t get this.

Just buy a Calibar (if you can still find one) Generate whatever bars you need. Save them as files. Cast the Calibar as a relic in resin on your desk – and forevermore insert the resulting screens where you like. If you’re freaked out about the “purity” of your color vectors, the plunge level or some other “broadcast” data point, you’ve got a whole array of scopes a Command 7 away to make sure that at whatever resolution you’re delivering, you can append files that are digitally spot-on accurate.

Honestly, it feels like you’re working WAY too hard to try to find deficiencies in X that really just aren’t there.

And I’m just a bit tired of the the implication that what is actually the BEST thing about X – that it was free to jettison some long-in-the-tooth conventions about how video needs to be made – continues to be re-cast as things that have somehow “wounded” X. They aren’t.

I agree if you somehow couldn’t adjust video in X that would be one thing. But that they stripped fading analog era stuff out to make the program cleaner and more suitable to a 1’s and 0’s world – and that means you have to PLAN for your clients needs a bit in advance, thats not a bug, it’s a FEATURE, IMO.

Time to move on.

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

[Michael Gissing]

[Bill Davis]”Honestly, it feels like you’re working WAY too hard to try to find deficiencies in X that really just aren’t there. ”

Do you read my posts Bill??

I am not saying it is a deficiency. I did say that there is still a need for finishing tools to have generators and guess what. They nearly all do.

So please move on. Stop complaining about things that don’t exist.

[Steve Connor]

I have nothing to say on this, but I just wanted to add the “R” back into Randy’s name 🙂

[Chris Harlan]

And, I was just getting used to the new name!

[Chris Jacek]

Actually, to the best of my knowledge, Randy did not create all those programs, at least not as the designer. I don’t believe that he became the product designer until about a year before FCP X was released. I was working on the FCP QA team from 2000-2002 and Randy was the lead engineer, but not the designer. That was Brian Meeney, if I remember the name correctly. If not, it was very close. Brian had considerable experience as an editor. Randy was a coding genius, but had no real-world editing experience to speak of. There were always arguments (though mostly friendly) between the engineering-oriented people (like Randy) and editing-oriented people (like myself) about what end-users actually wanted.

Over the past 4 years, I think we’ve proven that these kinds of arguments still exist.

Professor, Producer, Editor
and former Apple Employee