Aindreas Gallagher
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that stuff is actually out there – the account of the meeting where jobs decided the pre-logger would be X – although I think he was looking more at what became the browser and tagging system. but that account is real – an apple person from the time spoke about it. Jobs made a crazy amount of instant taste calls. If that meeting had gone differently presumably nothing would be as it is.
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[Oliver Peters] “in the presentation, it wasn’t clear to me whether Mike was talking about organizing tracks into DME groups to send on to the mixer or whether he was talking about exporting a final version with DME stems.”
but it is to pro-tools right? he says they demanded EDL and stuff – but he references pro-tools destination quite a few times. That whole production was tailed with an avid matched edit in unmarked cars the whole time apparently? Agnostic devil’s advocate: the thing you can’t get away from is that all the items on the timeline carry persistent identity.
as in every time we dump VA objects into a timeline in ppro etc, all they’re left knowing is the track they’re in. X objects kind of do have persistent actionable sets of characteristics? although X fails on matchback duplicates stuff (does it still?) You’d think they get lost in the metadata. You’d suspect X sucks on a lot of common or garden label colour stuff as well. It feels like proof of a demanding intellectual cleanliness more than anything.
I’m not sure what apple won by being as metadata calvinist as they did? It looks a lot like an outcome sea of metadata objects inside odd timeline rules with constrained matchback links to the original sea of metadata in the library. Apple seemed really, really determined to prove a point to themselves.
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[Oliver Peters] “It’s a winning formula for Apple and certainly not wrong, but it doesn’t benefit photographers.”
I have no problem with apple’s recusal, given it resulted in Adobe developing ambition rabies. Premiere Pro broke off the chain quite a while ago.
That thing is currently loose and knocking over trees.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Oliver Peters] “PS: And the new preset for iTunes packages in Compressor, “
yep, between that and the crazy direct hard links they engineered for X… I’m largely stupid, but you’d hope apple have some basic ambition and pride involved on old ground. Plus they’re competing with adobe. Given the history and that. Adobe were, actually, incredible dicks to apple back when they thought they could be.
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the cow will need styrofoam bats and world wide wrestling banners at this point. Oliver Peters raises a bit of an issue though right?
surely the point is that apple could change their minds at any point about the importance of heavy captured video discoverability inside editing paradigms across both their platforms? Everywhere but imovie it’s like instagram video and periscope. no one is making archetypal home movies any more. They’re single item highly compressed streamable moments. No dad’s are cutting in their den. If that cosy amateur cutter thesis archetype finally dies in apple, then so dies iMovie, and if iMovie dies, then apple adopt an atomic photo object style streamable approach to stored iOS video items – transparently viewed across iOS and OSX, with an iOS/OSX videos app that allows item editing (maybe some multiple clip group editing) and sharing. And that’s basically it.
If that happens, the last remains of pro-apps, centred on pro-editing, have got to be on a long, long thin cord out in the ocean.
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“recently… I had to spend five hours untangling 30 minutes of D-M&E on avid… it literally would have taken me 10 minutes on X.”
from 13 minutes in – as he moves through the serious capabilities to preference and or mute audio sub roles/channels it’s quite the killer presentation.
It’s incredibly weird, to a sometime hater, that skateboarder video X’s core calvinist thinking on data and metadata objects sounds most radically impressive inside the highest end co-operative work scenarios. Mike Matzdorf has to be, inarguably, a wicked smart unassuming top of his game mensch. And his irritation at the general inability to see some of the deadly serious game X brings to the table comes off him in waves.
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Chris Fenwick live periscoped Steve Martin working the new mask and colour qualifiers on FCPX – it was fun to watch, plus fenwick can compère dandy – they have one up over adobe masking there as native attributes. two up if I heard natural b-splines right.
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hey! the dancing cow. too long, too long.
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to be fair – given the PPro text tool is like livetype took acid and decided to try and be a mini photoshop inside an editing system – that stuff really doesn’t look bad at all. the per character dynamics and turns are fab? God be with the days of invigorator in AE.
but you’d think it’s a mortal lock adobe are going to hit typography in PPro inside the next few revs. And that will mean native character paragraph panels with all the trimmings. For my part I think adobe are gone all out to the mattresses on PPro. Relative to the 2 million base apple assembled with FCP7 in mid 2010, you’d think adobe have eyed that and have gamed out PPro as the best thin end of the CC adoption wedge for at least the next 12-18 months of projections. As the producer in the pre-nab talk highlighted – this stuff, their performance executing their CC software, is, bar the marketing cloud stuff, quite literally all they care about in the world.
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ah fair play simon. they’re great tutorials. grand sunday evening watch there.
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