Aindreas Gallagher
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That my friends, is just a huge, gigantic, gargantuan vote of confidence, head turner biggie right there.
Meanwhile Apple is posting profile FCPX user stories from a newspaper in Canada.
https://25.media.tumblr.com/tumblr_mduzh2pot41rxmai6o1_500.gif
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come on craig.
Phillip Hodgetts has been known to give forth, at editing panels, from the audience, about where FCPX is supposedly going.
Mark Raudinos, as I recall, was at one. I watched as Hodgetts literally roared at the broad editing cross platform editing panel about FCPX from the audience.
He’s pretty passionate.Full confession: I’ve been – maybe over vociferous – on Hodgett’s blogs, and rightly banned as a result. I duly apologised.
but: it is beyond ridiculous to view Phillip as a NYT op-ed when he is completely financially vested in FCPX across multiple software products.
No more than ripple training – he is a guy on the line chasing a very long tail of prosumer to mid level pro for software and training cash.
He’s not an independent financial analyst – he’s a guy trying to bump the FCPX ecosystem on his blog.
to be fair – most of this noise is emanating from the grave of FCP – it was a gold mine populariser – and so thats where you get phillip, steve martin and the ripple training guys trying very hard to reset the ecosystem for the mid term on their terms.
Personally?
I rather look forward to a good cottage industry of PPro supplementary software and training professionals over the next 24 months. Nicely mixed in with prelude, audition and the rest.A changing of the guard as it were.
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PPro is taking ridiculous strides.
seriously – please march on – and rightfully claim (by fief!) the broad industry editing mainstay prize tossed into the air by the madmen at apple and, you know, reap the decade’s worth million or so editor user base harvest that follows. please take this baby home.
Don’t make us have to get into the godforsaken magnetic timeline. We will send you cake.
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Indeed that does look surreally powerful.
well deflected sir, well deflected….
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here’s a pretty good list of stuff they might get around to.
there’s the biggies like one project at a go, relinking nasties and that – also background rendering, smart rendering, use of preview files losslessly to speed up pro res output – all the general problems with exporting generally, the lack of an intermediate codec, even though they have actually coded one which they are using internally for adobe anywhere but will not release for user encdoding… sigh…
to be fair the track assignment is literally kind of insane, tool switching in the timeline can be a bit funky, and if I was going to be picky, the overall detail and design of the timeline, clip objects, and tool cursors lacks a lot of fit and finish.
Also the modal autosave, that even breaks in when the app is background feels a tad mad also.
Also feathered bezier masking tools please.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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john man – you kind of coined GFX word tag smart collections, and work flow compound clips functioning as sequences in the browser –
I tread lightly –
“Certainly not a thunderbolt RAID, “
that’s not going to matter realistically. We’ve all been happy as clams to this point.“Have I not told you about using 3rd party plugins on FCPX? Please learn how to color correct in X or with motion,”
So I’m going to take fairly deadly issue with this.
Either FCPX has a reliable extensible plugin architecture or it doesn’t. As of two days ago Magic Bullet, from Stu Maschwitz, apparently functions again.
After a three month silent interregnum.Basically: who is not pretty happily accustomed to invoking third party pug-ins?
plus what’s worse, the dude here says its not even external plug-ins killing him.still – I do basically take the point – throwing any old plug-in to the mix is liable to mess things up.
BUT – the system should be in a position to reliably accept plug-ins.
Up until three days ago that was not true of a serious amount of third party plugin software.That aside – he said pouring tea and offering biscuits –
do you get system slow down or interface breaks? Do Apple have anything to address here?https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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hey – at least I know the keyframing like the back of me hand wha?
kind of really nice to see the old style inline AE keyframe curves again.
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oh yeah – totally – if you’re going to resolve – you’re not going to have a good time. It was suggested a quicktime brick output with a notched EDL (not that I’ve ever done anything of the sort) will kind of get you out of jail – as long as there aren’t dissolves involved – but yes definitely – like I said there are definitely times you could argue for an intermediate codec, or just transcoding like we always did. Setting up a batchlist in streamclip never really wrecked my head that much anyway.
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there are way, way, way better people to ask than me – buttt – if you’re file based off cards.. richard harrington I think would tell you to create “a verified copy or disk image of your tapeless media in your project’s folder.” so like onto your raid or whatever.
as in if they were tapes, there’s a tape backup, and the tape you’re sourcing from – you can then import from that p2 disk image or what have you to your hearts content?
the point with premiere is that on any half decent mac, it doesn’t care what the media format is? red native, avchd native anything basically – they’re not messing either – it really does work – throw it on the timeline and playback.
the point is that it would want to because there is no intermediate codec. If you want to, and you want to set up the transcoding steps before hand there is nothing stopping you from transcoding everything into prores – premiere is fine with that and it will run dandy, but you are missing half the kick of the system in terms of turnaround time. If you’re worried about organisational issues more than codec, having a strict system of card archives should do you?
Half of what I’ve said there is probably wrong – but the gist is premiere is killer for native handling of media – Premiere’s key USP is, ‘why the hell are you spending twenty four hours transcoding all your file formats to pro res? It all plays back natively, mixed together on our timeline..’
There are issues getting out though – there is a time sink processing out the final edit from that timeline, and some gotchas there if you’re going to resolve.
Some people would argue that PPro really does need the ability to invoke an intermediate codec in some work cases.Alternatively – just post the question on the PPro forum! – most active on the Cow apparently, and they actually know what they’re talking about.
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oh right – thats clever, just did another test – so its analysing the imported sequence contents versus the current project master clips? did another one with some new stuff in the sequence – it only pulls in the master clips it needs? more than I knew ten minutes ago – mmm. haven’t paid enough attention to the media browser….
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