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Where is editing going
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OK – thanks for that.
Looks like, according to your list, the innovative energy on the Premiere Pro side has been largely in the new Cloud initiatives – moving what the program already does into virtual space rather than re-thinking any traditional timeline functions. Is that fair? Did Permiere Pro not have Dynamic Link and UI customization 3 years ago? That’s surprising.
As to Vegas and Lightworks et al, I’m trying to remember the forward looking developments over the past 36 -48 months from them – anyone know those well enough to comment?
I guess we could include Resolve 12 – but again, I’m kinda looking for we features that moved the game forward IN editing – not just incrementally better ways to do the same thing we’ve been doing things for years.Again, this is not about any of those other tools not being capable editors – they all clearly are – but as much as our industry has been disrupted by new tools and technologies and overall change – it kinda surprises me that we haven’t seen as much change in our tools.
Maybe that’s too much to ask.
But who is imagining any new editing possibilities to go with all the new tech? Anyone? Or is editing as it happened in 1995 – but moved into a rental cloud – the best we can look forward to as an industry?
Worth asking, perhaps.
Or not.
; )
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.
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Part of these discussions inevitably compare the FCPX trackless UI to tracks in the context of Avid, Premiere Pro or FCP 7. I would point out that other approaches have been used in the past. For example, Quantel Harry used a vertical filmstrip metaphor where composites were collapsed under a single clip. Same with audio. Although track-like, the original Lightworks interface also used a different approach than standard track UIs. The most radically different UI and the most FCPX-like is probably the original Jaleo/Mistika UIs. So variations have been with us for a long time. Not much new with FCPX from that standpoint.
But more to the point – where is editing going…
I agree with the thoughts about team solutions. Since Adobe is releasing a smaller, less-hardware-dependent version of Anywhere, it might be coming to you sooner than you think. I think touch support is another area that will be mined to a greater extent. Maybe something very solid on an iPad Pro.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
First time I saw the magnetic timeline it reminded me of the Casablanca. How do I even remember the name of that monstrosity?
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[Bret Williams] “First time I saw the magnetic timeline it reminded me of the Casablanca. How do I even remember the name of that monstrosity?”
PTSD? 🙂
Shawn
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Exactly. The tools don’t matter. It’s how you use them. The best editors could work with the ridiculously clunky AVID or Final Cut. Seeing my preference there haha
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[Neil Goodman] “IMO the only thing FCPX did to “change the workflow” for the future is implement their lame timeline which is obviously still up for debate. “
Filmstrip browsing is huge. Add to that skimming and I find my shots faster than I every have with any other program. This is more critical for people who condense hours and hours of footage down to minutes.
“Lame timeline”? Really? I thought we were passed that kind of crap.
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Out of interest does PP not care at all what codec you put in the Timeline or does it perform better if stuff is transcoded to Pro Res?
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[Steve Connor] “[Neil Goodman] “My fav PPRO workflow enhancer is the ability to pancake timelines. Cant do that in FCPX and thats one place where PPRO excels above the others. Its doable in Avid in a different form but adobes implementation is dope.
“”Seconded. It’s a pain in the back of the trousers having to tab backwards and forwards through timelines and not be able to have two open at the same time.
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Shane, this is a great post. I am up in NYC this week for Advertising Week, and if you believe what the various panels and speakers are saying that creation of content, branded content or “native content” (a new term for me) will continue to race forward and that means editing, in all it’s various forms, will race along with it. Where editing is going is up to the individual user and I don’t feel one “A” is going to have it all. There simply is too much work to be done. It’s a great time to be an editor, in my humble opinion.
Personally, I am a one-man-band and can’t imagine having multiple editors working on a project with me (except for assistants of course. I would love to hear some other editor comments on this multiple editor workflow, perhaps in a separate thread), so Everywhere and Anywhere don’t carry much weight. Ownership of the software matters to me, so Avid and especially Adobe’s subscription models make me wary. Speed and the ability to be really creative really fast matters for my agency clients is very important to me as well. FCP7, MC and Pr are simply slower and more restrictive (to me personally) so are down in my list of preferred editing systems. X fits the bill for me, personally. Cut on Premiere? Sure if that’s the only option a production company can offer but I will let them know that my “personal” choice is something different (although I have persuaded a couple to add X). These are all personal choices. I look into this forum less than I used to but it seems to be the same 30 people (me included) arguing the same old points from four years ago, and not one thread has changed my personal opinions. Those changes are only done with hands on experience in your own personal workflow. Feature lists don’t change perspectives either. The choices we make on an editor are all very personal and one that a feature list of any product won’t change.
sw
[Shane Ross] “I just did a memorial video for a friend, and I used Adobe PPro…because it consisted of about 400 stills, and 6 video sources of varying types…and I just imported and started editing.”
Sadly, I had to do the same thing for a close friend in February, and X worked perfectly for it. Just another personal choice.
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“Out of interest does PP not care at all what codec you put in the Timeline or does it perform better if stuff is transcoded to Pro Res?”
The PPro timeline codec selection only affects the render file format for previews. In general, I’ve found that PPro likes media that is ProRes, MPEG2, AVC-Intra and Avid DNxHD.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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