[Aindreas Gallagher]

[David Lawrence] “I use color-coding and often create piles on the timeline or in bins. “

me too.

[David Lawrence] “BTW, I’m not saying one way is better than the other. I really do believe preference comes down to brain wiring. I think FCPX’s tagging/organization tools are very innovative and powerful. “

totally agree – it’s not a hit on X or adherents – I was basically making the point that in writing the various replies, I realised that I actually construct a very spatial iterative memory path thing. it’s the iterations of place and order that struck me most. A lot of my footage physically moves under scrutiny at least once. I think thats an important bridge phase. I think there are levels of re-enforcement that go with it.
It does extend the build phase for the edit – but I feel there is a pay off when you start to draw on it at the critical back end. that you are not simply staring at a list of tags – rather that you have a few mental fold iterations of the set of assets – with physical reality, that then bleed into tag style selects sequences anyway – I think your head has a lot more avenues of recall in that context.

mine does anyway.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

ESPN London out in Chiswick Park is still HDCAM up the wazoo – reckon they’ll be a long time transitioning off it.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Bernard Newnham] “The world stuck with Avid style timelines, and that was that. I think the same will happen here.”

I’m inclined to think so too, but there should be a few laments – this video is worth watching –

https://www.youtube.com/watch?feature=player_embedded&v=AaNkkTXt_ng

three minutes in is pretty interesting, and it largely keeps going – the interplay of the audio inspector architecture to the audio assets it can in multiple represent is pretty remarkable, and when he starts throwing the pro-level EQ software apple have lying around as paste attributes on the fourteen minute mark is arresting.
One thing you can’t argue about is that apple have wedged pretty deadly serious audio adjustment into the software.

Also the CC and power masks are – really not in any way messing around. The power masks, with stacked effects, are a literal dream in operation at 1080P on bog standard iMac hardware. Go into an apple store – stack it up – its surreal.

that said – the timeline is a bag of distressed cats.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

steven you wound me. you wound me sir. Sure that nearly felt like an attack on the poster. Crassly belittling them to entertainment value.

Shocking steven, just shocking. I may pick up my pen.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

the audio handling video below took it out of me a little. One is a little despondent at the undifferentiated X wreckage.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

ok quite – you’re a country mile beyond me in process – as I said below to garchow – I really amn’t that ignorant of the software at this point.
But it’s impossible to develop work process solutions when its a hobby on the side.

[Charlie Austin] “And if I’m chopping up MX I have a 5 min silent clip that I use as a… barrier i guess”

grand – so that audio slug functions as an edit length track barrier to corral nats from sync? that stuff can only bounce so much?

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Charlie Austin] “the tail you cut off jumps all the way to the top of the screen. Or worse, cutting 2 or 3 frame bits of dialog or FX together. You may not care about that, but those that do may think Roles really need to be able to stick together, at least loosely. :-)”

that – in truth – would drive me a bit around the bend – I’ve just mucked around faking that up – there’s no way to force them back into alignment is there?

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

only to watch you all scrabbling around trying to keep it alive. It’s.. entertaining.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[tony west] “When people ask me about it I always say, “you need to sit behind someone who knows this program really well and watch them””

V. true. that’s why I personally found John Davidson’s barrelling through promos with it an eye opener. Promos is very familiar process, and he had really worked it through in X, including all the little niceties like the GFX naming for graphics auto-tagging.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

ha. right. and a meh to you too garchow 🙂

I have seen audio components mate, I did engage with the borg on them when I downloaded .6 it was nice to see them, but – as ever – unless you are using the software in anger under the gun, desperation won’t drive you to discover real process – that would be where the no jobs issue rears its ugly head.

As we have discussed before – the fact that this software sits in a dead ether of being completely unused by the vast majority of editors and houses and production companies that employ editors, even the real gems will lie at the bottom of the ocean.

meh indeed….

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics