Thank you Apple – and don’t change course. Please

[John Heagy]

[Oliver Peters] “It’s not exactly “conjured”. This exists because Avid licensed it from Apple.”

The codec yes, but creating an mxf wrapper for ProRes was all Avid.

[Jim Giberti]

[Jeremy Garchow] “We resemble that comment, except it’s 80 degrees here today, so actually, it’s shorts.

And my dog is sleeping on the floor next to me.”

You call THAT a boutique Jeremy?

I’m in pajama pants with 8 Labs in the studio, and I haven’t shaved for three days, and there’s Bailey’s in my coffee, and…

[Jeremy Garchow]

[Jim Giberti] “I’m in pajama pants with 8 Labs in the studio, and I haven’t shaved for three days, and there’s Bailey’s in my coffee, and…”

😉

…and horses. Something about horses, right?

[Jim Giberti]

[Chris Harlan] “I think you’re fighting your own demons here, Bill, and you just stuck my face on ’em.”

You mean you’re actually trapped on that ornament Chris?
Damn you Bill, release him now!

[Walter Soyka]

[John Heagy] “For us ProRes QT is a big reason to hope FCPX will meet our needs. There will never be a better NLE for editing ProRes QT than FCPX unless Adobe embraces AV Foundation. That will never happen unless Apple releases AV Foundation for Windows. Right now Adobe and AVID are suck with 32bit QT APIs.”

Let me rephrase this — “Apple has stuck Adobe and Avid with 32-bit QuickTime APIs.”

Behold, the ProRes hegemony.

The rest of the industry is trending toward openness. Apple is the holdout, and they are leveraging infrastructures built around the ProRes to keep themselves in contention where their product offerings themselves may fall short (as you have outlined above).

Nobody liked Microsoft when they did stuff like this in the nineties. I’m curious to see how the industry as a whole will treat electronic delivery over the coming years now that the FCP7/FCPX Sturm und Drang has made everyone acutely aware of how dependent we were on a single closed supplier.

Our intermediates and masters are just simply too important to be controlled by a dictator we had all assumed was benevolent.

I must still often deliver ProRes, but I’m finding that doesn’t mean I have to work in ProRes.

Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events

[Jim Giberti]

[Jeremy Garchow] “…and horses. Something about horses, right?
“

Yeah, way too many of them too but at least they shed in their own house.

[Andrew Kimery]

[Bill Davis] “Studio features and episodic TV have traditionally been the top of the heap. But I noted some months back the story of an extremely sharp and camera friendly young intern who works on the local TV show where my wife does a regular segment who literally dismissed an offer to go on salary at the TV station because she just didn’t feel TV was the place to be. She wanted a career in web development because she was firmly convinced that’s where the eyeballs of her generation were largely going to be served over her lifetime. Broadcast had no “cachet” for her.”

I think there’s a difference between broadcast/cable/sat as a delivery medium and content that is typically found on broadcast/cable/sat. The delivery medium, not the content, is what’s on shifting ground. People what the content they just want it more on their terms.

Netflix, Hulu and YouTube are all trying to create ‘broadcast quality’ (for lack of a better term) original content because they know that’s what they have to do to compete. Hulu is way, way, way more profitable than YouTube even though Hulu does a fraction of the traffic because Hulu has the premium content that people will pay/watch ads for. Ad before a skate video? No thanks. Ad before 30 Rock, I’m okay w/that.

Is the moving picture landscape broadening out more than ever? Yes. But that expansion isn’t going to replace the movies and episodic shows that people want. As a content creator I’m really not worried about this at all. I mean, do I really care if I’m working on an original series for Netflix or an original series for network TV? Now, if I wasn’t a content creator but a ‘traditional’ content distributor then I’d be a bit more worried about what’s going on. But, hey, I just want people to watch my docs and I really don’t care if it’s via iTunes, Amazon, on DVD, cable, sat, whatever. I’m platform agnostic I guess.

-Andrew

2.9 GHz 8-core (4,1), FCP 7.0.3, 10.6.6
Blackmagic Multibridge Eclipse (7.9.5)

[Richard Herd]

I sent a note to apple about being able to option-click the connection line and move it wherever I want.

[Jeremy Garchow]

[Richard Herd] “I sent a note to apple about being able to option-click the connection line and move it wherever I want.”

And by move wherever you want you mean remove it completely, I’m all for it.

Today, you can hit option-command-click and it will move the connection point.

[Jeremy Garchow]

[Jim Giberti] ”
You mean you’re actually trapped on that ornament Chris?”

Yes. Yes! Since Christmas!!!