Aindreas Gallagher
Forum Replies Created
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[Craig Seeman] “but the frame is as old and battered as time itself and they can’t bear to replace the dial on the radio or replace the 8 track.”
thats nicely put – and God you really do get that feeling. they are in a lover’s swan dive with their twenty year customers.
change a button and there’s war.
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then why is it that the footage item has exactly one route? it routes only into semantic tags on the left. It one step diffuses footage into an undifferentiated database tag query.
FCPX is only left right Steve – there are no places. there is an event containing database tags – and one viewer to see those tags exposed: the event viewer.
A lot of people on here remark on its speed – give me at least the point that I have mucked around pretty extensively with the software – I’ve even mocked up alternative keyframing apparatus for God’s sake. I am aware of the fundamental speed up in the event area tagging.
that system which Apple are employing is intended to short circuit a lot of the classical footage interrogation steps – you rapidly diffuse all the footage into a database set of tag queries – the argument is that you are in fact, by limiting it to this – one step, make a tag database, and then view those tags in the viewer -fundamentally limiting spatial and cognitive understanding of the assets at hand.
Steve – i actually kind of think this could be true. I’m not saying this for argument giggles.
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in the end – I think a footage item is an object, I think I am required at the outset to develop fundamental familiarity with the assets available – the argument proposed is that proliferating material and cheap DSLRs makes that an unsustainable proposition. I don’t think thats true.
Let me make an argument – I had to do a piece for a sports brand there nine months ago (I need to update my stuff – its not the most recent thing!), where they had shot a total of nearly 24 hours of rushes across nearly a dozen cameras at SXSW – the finished piece was a high level pitch for their engagement (they had spent a ton on brand presence) the finished piece was to be two minutes, but had to hit a million little points.
the wind up to editing was three and a half days days – so that was footage review, naming and marking in the day date camera original bins, then taking those master bins, with all the clips keyword named (with some tagged markers per clip), and then judging a whole new set of bins – crowd react day, different sport items, timelapse, different music acts, evening events – basically figuring the ideal number and nature of the final edit bins to work with -and then going through and populating all the clips into those new category bins.
then I made select sequences for all the major tasty stuff in each new category bin.
the great thing is that at the end of that – you really, really know what the hell is going on. And when the client comes back and says that the third aerial skateboard overhead is a bit meh – you have multiple redundant avenues of organization to explore – the original camera day date bins (which are all still down the bottom quietly in a master bin), the category bins that you put everything in, and the prime cut selects for each category bin.
When it come to the sharp end, having been through all those bins, and skimmed all those selects – you get a deeply, deeply trustworthy understanding of the assets.
things go a lot quicker at the end: you can move very nimbly at the most important time, and as Jok points out – you have intimate spatial understanding of where every single body is buried.
for the curious – this was the piece: https://vimeo.com/42327721
I think X’s stuff is dead smart, but there is no way it is not meant to cognitively hopscotch over initial footage analysis – superquick skimming and tagging is the order of the day.
not my own cup of tea.
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“I can tell you a WHOLE lot of broadcast stations are switching to Adobe Premiere Pro.”
Premiere Pro everyone – premiere bloody pro. the one I actually know rather well.
thank you God. Lets all now turn out the lights here and start using premiere pro.
then I will have gotten away with not properly training myself on anything post FCP7. Except for some excellent javascript keyframe routines in AE and the 3D tracker, which is awesome.break out the cigars and brandy everyone. Stick on some tunes. Its training easy street.
woop woop.
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[Craig Seeman] “Avid is in a perpetual preservation mode and in the long term that doesn’t lead to growth or even survival especially when you consider their loses have been ongoing since 2006 and it’s now 2013.”
its an interesting prognostication on the Red shark rising again, but – as much as steve sees me as a man hell bent on throttling X for dark reasons,
you are… quite keen, yes.. yes actually quite quite keen indeed on foreseeing a very, very, very dim future for Avid mate.
this is bell you have rung quite a few times over the last two years Mr. Seeman.tell the truth now – they pranged your car one time right? 🙂
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No, I’m afraid not Craig. That is an un-buyable statement.
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[Steve Connor] “As a longtime user of FCPX I disagree with that assertion completely.”
maybe expand that a fraction – what is the basis for your disagreement?
“It seems to promote database queries instead of true familiarity with your working materials. Not sure that’s a good thing.”
is this statement incorrect? Feels right to me.
Isn’t this the exact trade off with X? greater speed in appraisal, but with some associated, real, cognitive shortcuts?https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Chris Jacek] “Or to put it in a pop-culture context, “I am altering the deal. Pray I don’t alter it further.””
Very nice.
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[Steve Connor] “I know you REALLY want it to die, but it’s not going to I’m afraid.”
Well, no reason not to try.
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[Jeremy Garchow] ” there are editors that are making money on it, perhaps just not on any “job posts”.”
ah yes – the hidden multitude who walk silently among us.. 🙂
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