Aindreas Gallagher
Forum Replies Created
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No mate;) Audi – not audio.
I was referring to apple’s reduced case, idealised, we all just have a couple of car shots with keywords to edit together thing…
It’ll be interesting to see if and when they drop that.
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[Herb Sevush] “If it ain’t broke …”
as long as that isn’t referring to FCP.
BOOM. ZING! WALLOP.
https://www.youtube.com/watch?v=zS4g78VGu1c
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can claim a copy on a lappie that literally barely/does not run it, but yes – sure thing – its still really interesting software, and they worked like crazy on it, but some stuff i find it hard to get past – the scaling, not that I’ve really tried, but I feel, when I look at it, I feel deep down that it is intended for a finite number of clips, in a finitely complex situation. A few events – exposing one keyword at a time. A couple of shots of the Audi, in a promo spot, as it were.
I find it hard to shake the notion that there is a real limitation of use case scenario baked right into FCPX. But I could be very wrong.
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I increment the hell out of my AE project files too, i never really trust the auto-save, although I find incrementing messes with that too – can you speak a little more to the impact on dynamic link? I haven’t done a single project in anger with prpro dynamic linking to AE.
my methodology is to picture lock in FCP and use the FPC2AE script to take a collapsed V1 cut via xml to after effects – in a way I don’t really care about dynamic link, I think its messy methodology that opens the door to nightmare revsions of the cut and music choices very late in the game – I rather like to feel the door slam on the editing environment where both I and the client can hear it.
I really care about PPro 6 for the fact that it has editing trim tools that meet and well exceed FCP7 in ways I understand, scrubbable bins, snazzy environment I that I get – the things that bug me are weird stuff like not being able to option up arrow clips or mute clips with the equivalent of control B in ver.6 – is that still true? also the marker thing is nuts. I can’t believe markers are only in prelude. that’s a crazy oversight.
Also the track assignment behaviour. that’s all small beer though.
For my money, if this thing can stand stably on its own two feet in mid summer, with adobe palpably behind it, then I say PPro6 is unequivocally FCP8 with all the implications that follow.
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promo producer/editor.grading/motion graphics -
hey jeremy – have you read the X rollercoaster post below? – honest to god – didn’t that scare the bejeesus out of you? It did me.
that was an editor camping scare story.
isn’t it possible that this is simply not yet primetime software? (which begs the question of when will it be? remember Jim’s nightmare post?) –
and I mean this – these qualms I state after listening to really interesting stuff on that post show about the power of the event keyword stuff. And my deep love of the attached CC power windows masks whatnot.
As in I’m personally pretty sanguine about the options at this point – hey, who wouldn’t be right?
its pretty much a glittering field really, and I’m all for FCPX staking its claim, but:
completely destroying all work in progress like FCPX is showing an occasional propensity for, makes for pretty unnerving reading.
You’d have to think they really do need a sacrosanct autosave vault.
this no more save stuff is just bupkis.
(I won’t venture back to the “can Apple actually, really, honestly do this class of software thing when they fired everyone who knew anything?” meme anymore.. than this sentence does….;)
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promo producer/editor.grading/motion graphics -
I’d check out jim Gilberti’s posts, he’s really been through the wars with X and he’s persevering. Ditto Seeman and Davis.
Also, personal plea – *please* don’t freak me out with premiere being a mac stability dog since ver.3 – adobe landing PPro 6 would be good for the sanity of the world in market option terms. Also the Conan guys seem to genuinely like the look of it…
On the upside however, digital film cameras are now going for the price of a second hand toyota corrolla with god’s own colour timing suite thrown in, and well, symphony is yours for buttons until june. As interesting times go, there are much much worse these.
Weirdly I wonder if this isn’t a better editing marketplace reality than the one where there was a competent FCP update (if one were to term it in that fashion).
Apple unleashed a loony firestorm of competition when they vacated their seat didn’t they?
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promo producer/editor.grading/motion graphics -
Reality is melting a little isn’t it?
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promo producer/editor.grading/motion graphics -
maybe try contacting Walter Biscardi too – he pretty firmly road tested the beta CS6 suite recently – its going number two in his shop behind Avid for any stuff bar heavy duty long form broadcast I think.
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http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
that’s actually very true. By the middle of this year, I’m going to have a system with PPro 6, Avid Symphony and FCPX on a beefed up 27″ iMac.
Craaaazy town.
In truth, the demise of 7 has worked rather well from a certain perspective: that is the perspective where I am about to get symphony for a little over 800 of the queen’s pounds! Also I really like the look of PPro 6. seeing how far Adobe had taken 6 settled things down for me. that gets to be the most likely FCP now in terms of what FCP was, and that really suit me to a tee. I spend half my day in AE anyway. Adobe landing 6 is the best thing that’s happened so far.
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promo producer/editor.grading/motion graphics -
[David Roth Weiss] “Yey team!!! I guess it does pay to stick in the fight after all Aidreas.”
Ha! If Apple know this place even exists david, I’d say they’ve placed a large sticker on it labelled “frothing at the mouth, under no circumstances approach.”
Reckon that goes for both sides really.
I think they’ve just gotten an almighty kicking from the entire industry of paid editing, I watched the editors lounge pre-nab talk you referenced earlier – uber fascinating as ever, but in a room of paid editors when they asked who was using X, two people put up their hand out of over a hundred, and one of them was phillip hodgetts (he shouted a lot during the talk didn’t he?) there was plenty of 7, premiere and avid, but virtually no X.
its not the pie throwing on this forum that’s got them in turnaround, I’d argue its the near complete industry rejection of the application. Apple can talk about pucks as much as they want – if nearly everyone who gets paid to edit, or employs people to edit, tells Apple to get lost and throws FCPX back in their face, then they’re playing a lonely game of hockey.
A year later we’ve got evan schechtman who’s been in the tank since day one, and one other US facility Apple can point to – that and a german guy. I’m not saying that’s bad, but its not really a lot.
Reconsidering something like the viewer is interesting though – because I highly doubt that is a place Ubillos wanted to go back to. He’s having to bend to reality, not impose it. I doubt we’ll ever again see Ubillos demo FCPX in a professional setting.
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