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Where is editing going
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[Joseph W. Bourke] “I wonder whether they licensed this technology from Sony, or that it’s just relatively simple to implement. I’ve been using Sony ACID Pro for a few years now, and was amazed at this ability with just a .wav file. I could take a music clip which was, say, 100bpm, and change it to whatever speed I wanted it, without effecting pitch. As a matter of fact, when you start a music project in ACID, the software “learns” what the bpm of the first track is, then can automaticlly adjust non-matching tracks to fit the tempo.”
Audition’s new feature is different than that.
Check it out:
https://www.youtube.com/watch?v=WiL6n1BpPx8Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
Aah – thanks Walter. That is indeed quite a bit different from ACID’s capabilities. I’ll be interested to see how it works from an artistic point of view. The algorithm it uses must be pretty sophisticated, but editing a piece of music well is based on artistic decisions, which you can’t build in to software. But the demo was pretty impressive!
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
[Bill Davis] “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?”
Like mixing gesture controls and VR googles so we can all look like Michael Douglas from the movie “Disclosure”? 😉
https://www.youtube.com/watch?v=VFkyV7d5t8oMaybe the tools we have, at a fundamental/conceptual level, work very well and that’s why the concepts driving them seem stagnant compared to the constant technical changes (new codecs, new frame rates, new background processes, etc.,)? As I brought up in another thread, many film elements (razor blade tool, sprocket holes, film leader, etc.,) still appear in in NLE GUIs because they are understood even though they are rooted in the 1900’s. Gears and wrenches are also common visual cues about how to dig into the virtual guts of our software.
The other night I channel surfed into a documentary about the electric guitar and the solid body electric guitar hasn’t really changed much since Fender and Gibson took it mainstream in the 1950’s. When I think about other creative fields (musicians, photographers, cinematographers, painters, writers, etc.,) not much has fundamentally changed in decades (if not a century or more) in their fields other than trading tubes for transistors or film for sensors.
There are certainly new levels of affordability and flexibility these days which can open doors/opportunities that didn’t exist in the past, but much of that basically extended what already existed to a new audience/user base. YouTube, for example, has been huge for a number of reasons but content creators and distributors getting paid via ad revenue based on audience size is as old as the hills.
-Andrew
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[Joseph W. Bourke] “Aah – thanks Walter. That is indeed quite a bit different from ACID’s capabilities. I’ll be interested to see how it works from an artistic point of view. The algorithm it uses must be pretty sophisticated, but editing a piece of music well is based on artistic decisions, which you can’t build in to software. But the demo was pretty impressive!”
It looks like morph cut but for audio.
I agree that artistic decision can come into play, but sometimes I just need the music to be shorter. How it becomes shorter I don’t really care as long as the edits aren’t noticeable. 😉
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That’s cool, but I’m pretty certain I’d still chop the bars up. You always want to be making custom length crescendos and lulls really no? I actually quite like chopping a track up. It’s still cool tho.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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There is a great question on the Art of the Edit forum about how we prep our final edits….any takers?
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
[Herb Sevush] ” newest version of Audition a tool that will take a piece of music that runs, let’s say 1:30, and automatically re-cut it to a length you specify without using re-timing but rather by analyzing the beats “
Hummm, that type of automation sounds kind of “Apple’ish” like the ease of the Ken Burns boxes on stills.
One might get less respect than the other, but I might be tempted to put them in the same boat.
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Well. Didn’t SonicFire Pro do exactly that with SmartSound about 10 years ago? I never warmed to it, but I know a dozen corporate cutters who use the heck out of that system.
I wonder what Adobe is adding to the concept.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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Some older ideas or two points that I would add along with Herb’s would be as follows:
GPU – Adobe’s Mercury Playback Engine was the first mainstream NLE to tap into a new generation of GPU. Not OpenGL but CUDA and later OpenCL. For a certainty, it got the conversation started back when DSLRs and H.264 were changing the discussion on film making.
Native File Format Support – Not transcoding media and being able to edit immediately is a huge time saver and one of the biggest things that moves/moved broadcasters and large media companies away from Avid and FCP7.
Although these two points don’t fall within Bill’s guidelines of the last three years, I think they were important steps in the evolution of NLE’s in general. In both cases, other NLE’s followed suit. And let me say clearly that ALL NLE’s have provided some unique features that changed the landscape. I agree with Herb in saying that it’s not limited to the 3 A’s. Vegas is great at audio, Edius is strong at news editing and broad codec support, Lightworks has film devotees, etc.
Dennis – Adobe guy
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[Bill Davis] “Didn’t SonicFire Pro do exactly that with SmartSound about 10 years ago?”
Yes, but the difference is with SonicFire Pro you have to work only with their Smart Sound library of music, which was composed specifically to be rearranged in this fashion. Adobe’s version claims to work with any music clip. If this really works it will be a killer blow to SonicFire Pro, of which I am a happy user.
Again, by itself this is not a huge deal, any editor can cut up a piece of music to fit; in fact it’s one of the pleasures of editing to make a real nice musical edit. But sometimes, under time pressure, if you don’t want to spend the 15 minutes to find the right cut for some recalcitrant music, it’s a nice tool to have. And the point is Ppro is unleashing multiple little tools like this every six months – all of them may not work for you but the odds are some of them will.
Personally I’m more interested in the “text file to synthesized VO” tool. Hearing my own voice in a scratch VO is an irritation I can do without, saving the 20 minutes or so recording it and cleaning it up is even more pleasant. YMMV.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf
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