whatever happened to baby jane – and that hundred million dollar FCPX film?

[Oliver Peters]

Large films are 1 year+ in the making. Any related news like that won’t be available until it’s very close to release and in the hands of the studio PR folks.

– Oliver

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

[Aindreas Gallagher]

so larry was incorrect in his assessment that the editor and sam mestman were under nondisclosure agreements relating to the use of FCPX that would expire in a matter of weeks?

also – since when is the matter of a nominated editing system likely to be subject to the use of NDA for the films editor and one involved in workflow prep?

Also – if a major 100 million dollar picture from one of the big six was being currently edited as we speak solely in FCPX, presumably in LA I guess – isn’t it surprising that no mention or word of it has appeared outside of a Larry Jordan sales pitch in amsterdam, and a sam mestman launch my FCPX career post in fcp.co – a site designed entirely to profit from the rapid expansion of the FCPX base? Is it realistic to suppose that people wouldn’t know in the LA film community? there are people that come on here regularly that work and live in LA editing circles [edit: er sorry, like you for instance Oliver] – isn’t it weird that this is a phantom to the extent that it is, months and months into editing? when did editing begin?

so as to say: I mean, really?

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

[Oliver Peters]

[Aindreas Gallagher] “so larry was incorrect in his assessment that the editor and sam mestman were under nondisclosure agreements relating to the use of FCPX that would expire in a matter of weeks?”

That’s irrelevant. I interview editors for stories all the time. No one talks, until the studio PR folks have blessed the interview. As an editor in the food chain of film production, it is not your place to get involved with outside press until everything is put to bed and folks are happy. This is true as well of DPs, sound editors, re-recording mixers, VFX folks, etc.

[Aindreas Gallagher] “Is it realistic to suppose that people wouldn’t know in the LA film community?”

Yes. Have you ever noticed that very few if any notable editors or DPs have an online footprint – as in posting to forums or running their own blogs? Geoff Boyle and Roger Deakins are notable exceptions, but otherwise, you don’t see Murch, Wall, Cassidy, Tichenor or any of the others participate openly in places like CCow.

– Oliver

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

[Aindreas Gallagher]

[Oliver Peters] ” very few if any notable editors or DPs have an online footprint “

sure – of course, said el pleb in the cheap seats – but given the magnitude of the proposition – with a largely LA derided edit system nominated to handle a hundred million dollars worth of prime hollywood output, i find it extraordinary that the only two people who can blithely talk about it are Larry Jordan and Sam Mestman. Sam Mestman can talk about the catering and figure out the budget from there, then walk back the budget because he says he has no idea what the budget was, as he did, and Larry Jordan can say that the cast list convinced him it was a 100 million dollar film. And that he will be speaking about it again in a matter of weeks. And then we never hear about it again to this point.

they both seem to be quite in the know, and presumably dangerously close to the edge of the FCPX 100 million dollar super movie NDA.

YBTMV.

shiny new belief threshold acronym there.

Or I’m totally wrong and it hits hollywood reporter in a fortnight as a mega editing story.
did really feel an urge to point out the growing interval of time from the splash story tho.

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

[Oliver Peters]

[Aindreas Gallagher] “did really feel an urge to point out the growing interval of time from the splash story tho”

It happens. The Coens’ “Inside Llewyn Davis” was edited in 2012 using FCP7, but not released until 2013 (really 2014 mainstream). That comes right at the time that Adobe is touting their interest in Premiere Pro for the next feature.

Honestly, outside of the walls of these forums and some film schools, no one cares what NLE was used to edit any given film.

– Oliver

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

[Aindreas Gallagher]

[Oliver Peters] “Honestly, outside of the walls of these forums and some film schools, no one cares what NLE was used to edit any given film.”

lord sure, said someone who has no clue – that stuff is all a mile up in the gods past the clouds said he.
you would be inclined to hold Jordan to the particulars of that amsterdam presentation tho.
until it all breaks.

recap: early september splash, 100 million dollar film clearly stated and re-iterated by Jordan, big six studio, entirely edited in X – more details very soon.

sure think of it even as a year end bit on interesting stories from 2013. full details would make quite an absorbing 2014 read.

Larry must, realistically, be very keen to speak in great detail, building on all the vague, provocative things he said in amsterdam.

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

[Steve Connor]

[Oliver Peters] “Honestly, outside of the walls of these forums and some film schools, no one cares what NLE was used to edit any given film.”

So very true

Steve Connor

There’s nothing we can’t argue about on the FCPX COW Forum

[Craig Seeman]

[Aindreas Gallagher] “remember sam mestman creating all that stir with his hundred million dollar film?”

Whatever happened might have been the inspiration, in part, for this.
https://www.fcp.co/final-cut-pro/articles/1300-why-final-cut-pro-x-works-and-an-introduction-to-fcpworks-by-sam-mestman
and his company.
https://www.fcpworks.com

If he believes he can make a living at it somebody must be buying.
I don’t doubt when he gets the green light he’ll be using it to promote his new business.

[Bill Davis]

[Oliver Peters] “Honestly, outside of the walls of these forums and some film schools, no one cares what NLE was used to edit any given film.

– Oliver
“

Oliver dude, stop it.

You’re scaring all of us here who’ve spent so much time convincing ourselves that what we say and do influences all human thinking in the rest of the world.

Seriously, you DO know, don’t you, that Putin’s having trouble with the terrorists in Russia primarily because none of the factions can decide whether to cut their pre-Olympics terrorist manifesto EPKs in Premier or X?

(whoops, just realized that I used the “t-word” and the “o-word” in the same email … oh, well, greetings NSA cubicle workers – hope you’re having a pleasant day!)

; )

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.

[Aindreas Gallagher]

I know – but what is so really interesting about FCPX is the potentially gigantic user base, for training, workflows and motivational speaker tours – if only it can forcibly declare a valid highly visible professional footprint – the visible rope ladder of opportunity that will lead you to giving mestman and jordan cash has to lead into visible paid professionalism say. like say a shiny hundred million dollar film.

I’m not saying it won’t or it isn’t – but given the massive intellectual effort apple have made to leave the skills stepway open down into casual intelligible use – for completely laudable fundamental reasons – if FCPX really starts to switch on and take hold visibly as an in operation system that you can aspire to, then there is something like the appearance of an almighty klondike gold rush for those in a position to sell maps, chisels, training videos and workflow guidance for the incalculable tangential hordes across photographers, prosumers and you name it. probably a genuinely electric scale of an audience. they run up in the hills, and other people sell a lot of chisels.

I don’t see mestman starting avidworks.

I’ll say one other thing – on a recent FCPX grill I was reminded of two fairly weird FCPX things – you simply cannot, without crass hacks, lock an element in time, and you cannot operate editing keyboard shortcuts outside of the primary. If its true that the rational voices in FCPX development are back a bit more in charge after the dust binning of the first three years worth of basic organisational constructs, there is maybe going to be a really interesting tug of war between fundamental efficacy and immediate intelligibility for this software. which has been an interesting question since the get go.

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