Speaking of tipping points…

[Aindreas Gallagher]

Oh sorry I’m an idiot – I should have checked before I replied. Yes that seems extremely clear – and his movies look like stunning – so if its good enough for him like..

Still – I’m basically in crowing mode here over PPro7 and the Coen endorsement – don’t distract me with rationality.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Tony West]

[Aindreas Gallagher] “- I’m fairly sure I didn’t mention that dude at all.”

I know, that’s why I asked about him. Seems like he would be a more interesting topic on this forum than some Canadian newspaper.

It least, it would seem that way to me.

[Marcus Moore]

Yup. It’s truly foreboding. Just like when the Cohen’s started editing on Final Cut almost a decade ago. That was the final nail in the coffin for AVID…

[Chris Harlan]

[Franz Bieberkopf] “Chris,

Easier in what way?

Franz.
“

I don’t have any links at hand, but from what I’ve read it was quite a troubled, arduous process that required a lot of intervention and, generally, invention. And, this was for an offline cut. There has just been so much development over the last decade, that we tend to forget how far we’ve come. Sure, you have to be inventive, but I don’t think the challenges are quite as great as they once were. For me the question is, would I really want to?

In another post today about a potential “Cold Mountain Moment,” Tim pithily replied:

If by Cold Mountain Moment you mean “the film with a hugely impractical workflow requiring the massive efforts of an international team, a workflow so bizarrely complicated that it took an entire book to explain how they crawled over the software’s glaring shortcomings,” then, well, we’ll have to wait and see. LOL

I think that about captures it.

[Tony West]

hehehe ok : )

[David Cherniack]

[tony west] “I wasn’t really asking about respect for X

I was asking about respect for Hark and Yu

I was wondering if their opinions carried much weight and if not, why not?”

Well you were really asking if their opinions about X merited respect. That’s hard to judge from an Apple puff piece where it appears they’re using to assemble dailies and send to Mistika for return of roughed-in CGI work. Just as hard as it is to judge what the Coens’ opinion about Premiere Pro is from the Adobe announcement. I suppose it’s just nice to hear about.

As to Hark and Yu getting respect anyone who’s seen Flying Sword at Dragon’s Gate would have to respect their use of CGI and superb use of 3D – best 3D I’ve seen in a dramatic movie though Pina is my all time best use of it in an artistic sense.

David
AllinOneFilms.com

[Franz Bieberkopf]

[Chris Harlan] ” There has just been so much development over the last decade”

Chris,

I had to look it up – it was 2003 (release) so I assume they were on FCP3. I did my first FCP film finish on 4.5 I think, but I don’t really remember what the difference would have been (3 years into it’s short 9 year release life …)

The thing is that it still comes down to work preferences – I can’t imagine X being easier to do my mixes in, for example, and that’s even assuming that FCP3 didn’t have support for control surfaces (which I think may have come with 4). I’m deeply intrigued (and highly skeptical) at the thought of seeing Walter Murch transform the trackless timeline into one of his many-tracked database-timelines – which is another way of saying I’m not sure he’d find that aspect easier.

And I’m not sure how you would pull a neg cut list from X – probably by going through 7. But then, today they likely wouldn’t be shooting film, and certainly not finishing on it, so that’s not really a point of comparison.

Cutting in HD (or higher) would certainly be easier to achieve.

When you attempt to shift paradigms and habits, some things get easier, and some things get harder.

I’d be interested in reading more about it, if anyone has a historical link.

Primarily, though, we have many more options on many levels today – and that transcends any single NLE.

Franz.

[Tony West]

[David Cherniack] “Well you were really asking if their opinions about X merited respect. That’s hard to judge from an Apple puff piece “

We both agree that they are very talented.

I think we can also agree that they really like using X (for whatever they are using it for)

I enjoyed reading about their experiences with it.

[Aindreas Gallagher]

second vote for Pina. thought that was just utterly gorgeous. I was looking into a stage box with perfect little people dancing in it. beautiful.

actually the water splash dance just popped into my head – and that amazing chair dance. some really memorable stuff.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Andrew Kimery]

[Franz Bieberkopf] “I had to look it up – it was 2003 (release) so I assume they were on FCP3. I did my first FCP film finish on 4.5 I think, but I don’t really remember what the difference would have been (3 years into it’s short 9 year release life …)”

It’s been a while since I’ve read Murch’s book about the ordeal, but from what I remember there were some new features in FCP 4 that would’ve been helpful but Apple wouldn’t allow them access to the beta of 4. Apple actually didn’t want anything to do with the project because they were afraid of failure and the resulting black eye it could give FCP. Digital Film Tree and Sean Cullen (Murch’s long time AE) basically cobbled together a tedious workflow from scratch.