Throwing in towel on NLEs – Going back to CMX 3600

[Richard Cardonna]

First back to source monitor now cmx compliant what next moviola?steenbeck? FCPX never ceases to amaze me. (btw just kidding)

RC

[Jeremy Garchow]

Next thing you know, there’ll be an outboard character generator complete with composite chroma crawl.

Look out!

[Scott Thomas]

How many GPI triggers can FCPX have?

[Jason Porthouse]

Great, we can go back to large desks full of switchers with massive T bars. They always made me feel kinda like a pilot. Impressed the hell outta clients, much more than an iMac does now. They were far more likely to sit on the sofa in silent awe of my technical prowess, instead of asking if they can get that software on their Macbook…. *sigh*

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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Andrew Richards]

Pull those T bars in the correct sequence and you can blow up a planet!

Best,
Andy

[Timothy Auld]

I was the only one in the theater who laughed like a maniac at that shot. Other people were not amused.

Tim

[John Czerwinski]

The old grass valley 200 switcher and sony 9100. The glory days

[Don Walker]

[Jason Porthouse] “Great, we can go back to large desks full of switchers with massive T bars. They always made me feel kinda like a pilot. Impressed the hell outta clients, much more than an iMac does now. They were far more likely to sit on the sofa in silent awe of my technical prowess, instead of asking if they can get that software on their Macbook…. *sigh*”

I was telling a preacher friend of mine just yesterday about my $750,000 edit suite at CNN post 15 years ago…… Abekas A-83, A-57, a million D-2 machines and Digi Betas…… Now I can do so much more with my 3 year old Mac Pro, Kona Card and various software. BTW the linear suite only had one monitor that anybody cared about. It changed from source to record as needed totally at the whim of the editor.

don walker
texarkana, texas

John 3:16

[Jason Porthouse]

With the ever increasing convergence of home/pro tech, do you the ink there’s a market for dummy gear – you know, stuff that looks really complicated but doesn’t actually do anything? Might mean that we can hold on to the cache of being very clever people who do very complex things with equipment you’ll never understand in a million years. Clients will love it…

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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.

*the artist formally known as Jaymags*

[Oliver Peters]

You can laugh all you want about this, but the most friendly data interchange format is the EDL, largely because it’s so “dumb”. That’s what most DI houses want. It’s what a lot of color correction systems want. Moving actual effects metadata around between competing systems is flawed in almost every instance and only works partially at best. That’s why most post houses recommend that you offline and online using the same platform. Interchange boils down to knowing where the clips are and where the edit points are. Forget everything else. You’ll have to rebuild it anyway. So, ironically, this four decades old standard is perfect for a file-based world. Good that someone put this utility together.

– Oliver

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