Aindreas Gallagher
Forum Replies Created
-
I tried to get in here. It was pop up city. This site is falling apart.
Bill – you always seemed mad.
Walter – realistically sane. (that’s a lie)
Simon – I have no clue. Ubsdell is a solid surname.
BIEBERKOPF. You were the dream that dreamt the dying livelong day.
https://vimeo.com/user1590967
producer/editor.grading/motion graphics -
I recall the moderator recounting a desert existence which seemed to involve desert warmth, he spoke of the warmth of the desert sun. It mightn’t have been specific.
https://vimeo.com/user1590967
producer/editor.grading/motion graphics -
“I thought I saw something special seven years ago at its release — turns out that I was utterly correct. “
Bill, and I mean this truly – I prayed for, and genuinely treasure that response: it’s fractionally monomaniacal, and basically perfect. God bless you.
And no, of course I did not edit your reply. Toodle pip.
https://vimeo.com/user1590967
producer/editor.grading/motion graphics -
Man that’s all I get? Steve? I wrote my heart out there. Where’s Garchow? Where’s Bill Davis striking me down one last time???
I kid. I’m not back dude – and hello Steve – I really just wanted to say thanks basically. I ran out of bullshit here years ago.
All our editing systems are cracking. It all worked out in the end right?
p.s. to private subscribers – FCPX still died as the cabal intended, our work here is done, let us meet on the moor and burn the bracken to our final victory
https://vimeo.com/user1590967
producer/editor.grading/motion graphics -
Yes, God but I adored the Lightworks system? The shark to nuke stuff, doors, the attic, that incredible controller. It was way more serious, but it was almost as idiosyncratic as Kais power tools?
Our place donkeys years ago had two lightworks out back in a jumbo portacabin. I was in awe of it. It cut together some weekly shows, but mostly it was cutting promos, which was insane in retrospect, so then they decided to plump for a Media 100 844X (ha ha) inside in the main promos edit suite with all the bells and whistles, which crashed and burned whenever it did, and then everyone realised that the graphics department had had the right idea ages back with macs and FCP (we had an ice board for AE).
I took the piss out of Ubillos from the cheap seats over X, but editing advancement turning into a software engineer’s disinterested analysis of the then editing practise feels a tad inevitable. CAD software isn’t much informed by a T-square. Or desktop publishing by hot letterpress. Or typography by letraset and french curves.
I just disagree with near every decision he arrived at with FCPX. jk lol.
Edit – or actually I’d make another point – he said his first experience, which was common, was tape to tape editing. There’s a pretty strong argument that the most prevalent, widely experienced consumer editing seen now is in snapchat and instagram stories – which is extremely brute force editing – almost enforcing old physical stop start limitations. There’s an argument that Ubillos paternally dumbed down his interpretation of full bore editing for no particularly good reason.
.https://vimeo.com/user1590967
producer/editor.grading/motion graphics -
That’s nothing – this baby felt like the money moment in terms of what’s coming down the pike.
Autonomous, completely accurate arrangement of the cast in order of appearance, rule of thirds applied, semantic shot analysis, detecting camera zooms and pans, detecting motion blur, on screen violence, depth of field, etc.
It’s for analysing stills, but it’s the best indication of where it might be going. The point about it is that Netflix has a strong economic interest in optimising and automating high quality show poster shots. A really strong interest given the content scale problem. They’ve done that, or rather, they’ve successfully adapted parts of the currently red hot domain specific machine vision learning.
It’s… difficult to think of a situation where they’d dump the necessary tens, if not hundreds of billions into generating a fully autonomous intelligence with the correct cultural nuances to replicate a warm body in a seat knocking out a thirty second promo tho – let alone edit together the collected rushes of a film project they’d already dropped millions into, when a reasonably trained human being can knock it out while making decent banter in the room with the director. And the bill is a lot lower.
If you read the Verge lately, in terms of autonomous cars, they’re coming as close as they can to calling absolute bullshit on the likelihood of unsupervised learning in unpredictable environments: that’s general AI, and solo cars need that. Sorting stills, that’s domain specific AI, basically a trained task nub – that’s happening.
But sublimating the gestalt of a trained human editor into code is wandering into general cognition AI – if we get to that, we’ve basically met/made/become god and editing jobs are the least of our worries.
-
True Comp Duplicator – better than the entire Boris FX suite imo. Really simple life changer.
Particularly if say you’re adapting a complex existing project – just true comp duplicate the master comp and hey presto – you’ve got a safe second version to mess around with.
https://vimeo.com/user1590967
producer/editor.grading/motion graphics -
He’s not lying. I myself learnt of the Emu’s, the standing stones and the solar power cell trees himself and his good partner Nora enjoy day by day.
https://vimeo.com/user1590967
producer/editor.grading/motion graphics -
come on though, this is the oldest joke in editing. This forum is the last standing bar of FCPX. It’s filled with a certain class of editors telling anyone who’ll hear that they are about to break across the world and spread the good word we haven’t heard yet.
Should have listened to my old man, there’s plenty like me to be found, so goodbye yellow brick road, should have heard the yellow brick road. As the lyric goes.
And so, farewell FCPX. With a dagger thrust through your heart. We chose to kill you.
https://vimeo.com/user1590967
producer/editor.grading/motion graphics -
I’m sorry, but there is a reason no one ever reconsidered the various insanities of the magnetic timeline, secondary storylines, connected clips, auditions or any other random stupid balls Apple decided to come up with.
It was broadly rejected out of hand as an illiterate methodology scrawl from a post iPhone company effectively high on its own supply.
FCPX was, and largely remains, a pompous long standing industry joke piece of software. It’s the literal antithesis of FCP.It was, is, and will ever be, a rare kind of software we all can laugh at for good reason. My connected clips you guys. I think I need a secondary storyline.
https://vimeo.com/user1590967
producer/editor.grading/motion graphics