Aindreas Gallagher
Forum Replies Created
-
[Shane Ross] “Mercury Streaming Engine”
rather. I’m holding off now, for the umpteenth time, on an imac purchase in the hopes that the next one has nvidia. I’ve had the cash for a full bang imac for a while, but given I personally think its going to be premiere in a range of scenarios over the next year, I’m horribly dis-inclined to lump with an ati card. Given that so many of us have this as a concern, and apple being an iron sales company – I find it hard to believe that the next imac will not be nvidia powered? In at least the 27″ fully loaded sales scenario, we have to be a realistic factor?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
the years’ quote still goes to you herb.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Craig Seeman] “I’ve talked a couple of others doing broadcast work and they don’t desire to have any online presence (in forum , blog or interview). They feel there have no reason to defend their choice of tool of preference (FCPX) and don’t have any need or desire to get into online “defense.””
Craig Seeman, in a parking lot, after putting the flower pot on the balcony, speaking to the unseen professional FCPX hordes; leading quiet, fearful, completely silent, magnetic lives.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
no seriously jeremy – I do actually think a structured exposed finder backend for third parties outside the editor is a thing, if a hack – you guys probably have a default folder asset system right? if you were trucking FCP? It just comes up so often?
say when you want to check assets for a previous project or whatever – specifically within GFX renders, scripts, PSDs, audio tracks, clean plates that fcp sent, dated draft edits to get a notion, VO for the most recent, FC server didn’t even do some of this stuff as well I think.
maybe I’m stupid on this, but it was one of the things where FCP was an almost accidentally brilliant opposite of a hermetic editing system.
Its file system was the file system.It’s not legend, but it’s certainly usable working practise?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
“The spine represents a primary sequence of media, which, in some embodiments, does not have any gaps. When a clip is deleted or removed from the timeline, the media-editing applications automatically closes the gap created in place of the clip.”
yep. thats the new iOS rubber banding alright – the world and its aunt will be after this one.
brain damaged ripple delete: cupertino knocks it out of the park.
It’s an empty park mind you.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Paul Dickin] “viewing disparate clips in a timeline disassociates them from their binning and browser-column information “
stupid question – if you were instead attempting to hastily interrogate a large volume of footage, of similar character, with a horrible awareness that you were going to, no matter what, miss some critically good stuff, would you rather set about making a controlled selects reel environment, or would you instead rather skim through the film strips in the constrained real estate of the events browser in FCPX?
I find I like that the selects reel is a declared space, that runs the width of the monitor, that has a memory (in that I am creating spatial edits within surrounding footage, and I get to duplicate the sequence before I savage it down to my selects?)
I have, regrettably, no position on the editorial style within full blown narrative documentary, because I have done it, like, you know, twice. (although storyville, … said the doco director to me, did say they rather liked the 8 minute cut pitch for a documentary that never ever, ever, ever ever got commissioned. 😉
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
I’m thinking a surprisingly long time.
I found out yesterday that Turner in London turned over its FCP suites to PPRO 6 apparently – or at least the ones on EMEA stuff – bar that not a single post house or shop has budged yet that I know of, including stuff like UNIT. I just got to quiz a guy way more informed than me. there are simply an insane number of FCP editors in london. And facilities with investments in it.
I still think its going to be tippy toe to premiere, because avid has cost implications, and there is, so far, a weird halt where so many people are FCP, and so many facilities and design houses have the hardware and workflow based entirely around a file system management organised around FCP being transparent in the file system.
I think its the folder structure more than anything. footage element and project accessibility, numbered below client number code folder naming populates near all london that has based itself on FCP. any change to that amounts re-laying continental rail tracks for some organisations.
again premiere has the best shot at allowing the continuance of that client/spot architecture. FCP’s file source finder transparency got leveraged into an almost accounting level organisation for many places – including per project default folder structure that was copied and pasted before new project start. because FCP was finder naked – anyone could access the VO, the track, the graphics, the offline, the compressed output, the final master, simply by going to the folder that is always named the same, and always contains those elements. Avid will simply never work in all these scenarios because the internal bucket will never expose these assets for the assistant producer, or art director who needs to pull that track, or view that offline. I kind of think this point gets overlooked. the internal structure of FCP was a publicly available resource, within the finder, for multiple parties in a given organisation.
everyone always said that FCP was finder messy – but the source material transparency in the finder is a big thing in a well organised scenario.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
me too, this be the way I go at it – short form easy peasy stuff in my case, but thats how I do it.
I think I find a task modality in it that I like. I enter that sequence and whack down all the rushes for a set reason, and i treat it differently than I would a master edit sequence. Its a particular place – I’ll often copy and paste repeats of the final music track under all the rushes to get a feel for how lift sections play with the track – its an assembly area.
The ability to skim within the horizontally constrained UI space of the event browser (with filmstrip cascading down vertically) I find fundamentally less satisfying. the mental operation is different, I don’t find I’m in the right place. the lozenge version up top in list view would have been completely unusable with the long record slugs of activity I was dealing with.
more than anything else I don’t have the ability to keyboard moment to moment zoom in, and by increments, investigate the shot moment, quickly playing little loop repeats on a section to see whats what.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
steve baby, I barely have a workflow, or an editors union card. I was supposed to be a graphic designer of some description.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
me too. Isn’t the point that you can simply term a sequence a skimmable selects area – as you lift the selects to v2? I rather love nuking the V1 carcass at the end. although collapse all gaps would be a great feature request, if the software wasn’t eol.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics