Aindreas Gallagher
Forum Replies Created
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[Bill Davis] “The way you previously ran your daily editing operations are usually NOT the way you run them in X in very fundamental and significant operational ways. When you truly get used to the X system, many of the things you depended on for editing daily simply become NOT as important as they used to be.”
But It’s like you’re on the starship enterprise bill. You know, like FCPX has a neural net Data SQL database only the chosen can fully perceive.
Or maybe it’s just some software amongst many that some people really don’t respect at all. And they really don’t. And they are exactly as intelligent as you.
But you do respect it, and that’s all cool Bill.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Tim Wilson] “Anyway, I think that Smoke on Mac offered exactly the environment you’re talking about, but I only know what I saw in demos”
If I’m being honest – of anything out there, Premiere now has to be officially the closest – relative to X and Avid.
You have extremely robust keyframing with AE 5.5 level acceleration control, trackable fully feathered masks, adjustment layers, it’s completely resolution independent to a degree avid definitely isn’t, and X isn’t quite, and it’s a far smarter GUI to perform multiple CC/Edit/Audio scenarios than X or avid. I will go into the ring with anyone saying either X or avid can touch the kinds of CC/Edit/Audio setups including stacked timelines you can achieve in PPro.In terms of getting into a 3D camera setup ala smoke, I think it can be argued pretty well that the near instantaneous transfer to AE on a clip or multi-clip level amounts to nearly the same thing in practise for 99% of the editors accessing it. I worked Flint for a fair few years, and the trade offs having to live in the kind of meta environment applications like Flame and Smoke provide don’t outbid the clear PPro AE interplay. To my eye Smoke has real intelligibility issues with where you are at a given point, why you are there, and what is available to you in terms of nodes sparks etc when you are there. That might explain why the entire Smoke experiment is formally dying.
basically the idea of the super app kind of has to be – as Tim explained way way way better – a chimera. Outside of the super app – the only architecture that comes within a mile of touching it is the adobe suite. There’s nothing on the field that comes close. Neither Avid nor Apple can touch the venn diagram Adobe present.
If adobe would simply offer me the CC production premium I am actually dealing with as opposed to the other 45 apps they’re pumping me for I’d be happier.
As an annual cost relative to the updates I signed on for – buying into production premium CS – I’m still irritated by the 963 app icons that have nothing to do me. There is no intellectual argument forcing master suite prices where they have no natural home. Adobe are still wearing a bad cheap suit for doing that.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Walter Soyka] “I think editorial, color and compositing belong together.”
granted you’re a mad scientist Walter – but try pitching the total craft collapse of a century worth of editing, colour timing, and optical compositing into a single frankenstein node based application with a vaguely reliable editor released on a freemium model.
At some point the respective crafts have to call time. Then you have total french style supply stoppage. That has to be conceivable. It’s super complicated but it looks a lot like exploitation. A lot of this looks like strike breaking without the trouble of strike breaking. given everyone has ipads.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Eric Santiago] “Not at once but you can toggle from one to the other similar to FCPX.”
I know it’s the same – timeline at a time – setup in avid, but pancaking timelines in premiere, with the way you can set it up, is a solid workflow if you’re skimming for b-roll or selects string-outs for a music based edit.
the ability to scrub selects in context of your edit without actually shutting that edit down, part of me is genuinely surprised more people aren’t irritated by not having that. For the stuff it works for, it’s deadly serious kit. It works in spades. Any editing system that can only show one timeline at a go is, on some level, missing a real trick.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Charlie Austin] “Is it ready to be the “main axe”, so to speak… I dunno. I’m not sure that’s the intent, but who knows…
“sometimes I wonder what blackmagic are in it for, bar being in everything. They feel almost like google leveraging a core cash stream to spray themselves all over the place.
Premiere lately has gotten stick for bugginess (that said why you wouldn’t just sit on CC14 like a hen until things shake out is beyond me) but –
at least premiere is an existentially pertinent issue for adobe in terms of driving the digital cloud suite forward.Blackmagic with their editing interpretation of resolve feels like Blackmagic with most iterations of their cameras. those cameras change and some drop away and blackmagic barrels on. But at least with the cameras people have universally laid down cash. Editing in resolve feels like a wheeze they don’t need to rely on anytime soon for anything in terms of reputation or income.
How are you supposed to go with that? Who’s to say they won’t start trying to wedge fusion nodes into the davinci node scheme because they had an engineer’s tequila party weekend? What’s actually at stake for blackmagic noodling for three or four years with an editing resolve bolt on? That maybe doesn’t go anywhere?https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Herb Sevush] “I don’t edit with Geekbench3”
sick burn, sick burn.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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https://www.premierebro.com/blog/trim-session-premiere-pro-cc-2015
random blog – and full disclosure, I don’t personally run trimming this religiously at all. But it’s an interesting article to read, because that optional hidden trim state revert button is something that will never, and can never happen in the world of FCPX.
The notion that speed is based on footage categorisation, where X excels, or render speeds, where I think it’s more fluid than presented, gets away from a core issue.
Does exposure to software vendor complexity allow craft skilled practitioners to shortcut any identifiable practise? Isn’t that the real time saving? Isn’t it consensual?
does a H264 sprint export beat the limitations of the primary timeline? If anyone is going to try and say that the apple timeline is not massively and deliberatively circumscribed – I have bridge to sell you. And a trim edit revert session button. Apple have effectively tried to place a high noise software filter on the operation of editing. I’m still not exactly sure why they tried to do this. As Tim pointed out: they have roughly half the user base they had with 7. What was it all for?
there. My role in kicking up some sweet debate forum ad sales!
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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out of curiosity did you compare any other QT compression outputs like ProRes?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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I think this is wonderful. I feel we should celebrate all editing systems, each with their own specific charms. They are all special snowflakes.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Jeremy Garchow] “I think, as always, I’m being misunderstood in this thread”
complex statements dude, complex statements. We’re only discussing money. we all like that money where we don’t have to dig roads, or drive roads.
https://soundcloud.com/whatstech/what-is-the-singularity
[Jeremy Garchow] “Walter says higher cost does not equal value, which implies less cost equals value? Or value is a feeling that had nothing to do with cost?
“that’s has to be deflection.You’re punching the air.
[Jeremy Garchow] “Basically, I’m asking, how do you know when a flat fee is good value? And as a supplier, how is that calculated, and how do you know your client is getting a good value?
“you know it by calling the value of your participation?