Aindreas Gallagher
Forum Replies Created
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there seem to be variable results?
https://www.definitionmagazine.com/journal/2012/2/2/review-apple-fcp-x-1003.html
his first tasks are extreme, the last, very much less so – but the fact that QA on a continuing critical aspect of a product called FCP was randomly left to third parties six months later who didn’t know via signals if apple actually wanted to do it – and then to have apple advertise it on the update, when it appears to fail to this degree – seems beyond weird.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
i can’t keep track of who is pro or con anymore? aren’t you a floater??
🙂
ok so for the sake of a rant to reassert my rabid credentials:
look forget everything else – bottom line – the FCPX timeline is a bombsite. its a crater. and they’re not going to try and fix that because of where they wanted to bring imovie.
the timeline is the central intellectual conceit of an editing system. Apple’s timeline is a broken, slow to react mess of indescribable proportions.
primary storyline, secondary storyline, connected clips, roles, its ridiculous. it represents lunatic *not invented here* avoidance of the continuing reality of the underlying track structure. Apple’s core timeline work is immensely annoying.
people can talk about four dimensional databases and exposing data though three dimensional artificially intelligent tags all they want.
the timeline is a gloopy ridiculous reductive metaphor mess. that, I would argue, is the central issue.
there – a bit of the rabid froth.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
mind you david –
as somebody who knows coding like they know CERN, I still feel full blown multiclip architecture turned up quite head turningly fast in the fashion they have just produced it.
although: the timeline is as ever glommed with chrome when moving clip objects tho. I will never stop stamping my walking stick on that point. that timeline has immense problems moving the physical clip objects.
to me, they feel immensely heavy objects on current hardware – its a ridiculously gloopy timeline. I would recommend anyone to throw a clip around freely on 7 and X – really let your mouse go – the difference is jaw dropping given that physical clip movement represents intrinsic editing thought process.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Paul Dickin] ”
A proper database would see clips from identical assets as being the same thing even if brought to the project by different ingest methods.
“again being stupid – how does that arise in a work scenario? what are you describing in a work scenario with this re-linking going beyond the spreadsheet?
[Paul Dickin] “So for example if a whole tape had been captured overall, then fragmentary clip sections subsequently recaptured would work in the edited project without any relink fiddling and fooling around.
“nnnnn. do you mean you are capturing smaller segments of the same material? I’m not getting my head around this bit? whats the work scenario?
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
its all getting a little isaac asimov here –
Say I’m stupid craig (and you wouldn’t be wrong) explain in straightforward terms the transformative importance of the database in the context of FCPX as an editing system to a lowly editor? Simple examples relating to the editing experience with this software as it currently stands?
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
its an old, old harping craig but that timeline is still way too heavy in operation – moving clips around, you feel like they are wearing lead weights, and that springy vertical drift on connected clips drifting up and down as you move them left or right drives me out of my mind. as does the dissolve behaviour on clip delete. if nothing else connected clips should be snapping to go only horizontally until you definitively pull them up.
Also… the way keyframes are exposed in that stack over the clip is crazy – where you have to zoom into – because of the fact that exposing the keyframes is physically tied to the clip on the timeline is nuts. the keyframe editor should not be tied in that fashion I don’t personally think. I’m not even going to go at the colour corrector – I half like it now and the power windows are class and superbly reactive – its a dodge and burn dream.
it boils down to the timeline for me. don’t get me wrong: apple are busting their ass to get this thing to where they think their pro customers need it to be. the multicam implementation is just about amazing, and its almost shocking that they pulled that together so well and so fast – but the core attributes of the timeline, not even getting into the issues with its conceptual constraints, are a deal breaker – its simply too gloopy and clunky – for me at any rate.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
not trauma for gods sake – sincere irritation mate. and i think you wanted to say puck there not pug, unless we’re all straining to meet this five years hence on the skating rink of life:
https://www.pugcenter.com/images/pug_main.JPG
jokes regarding it being a dogs dinner as software go unsaid, needless to say.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
its dead tho isn’t it? Isn’t FCP just dead? I tend to overstate this stuff, but a brit channel four editor spoke, in company, in the last week, with deep irritation at how fast the entire industry has abandoned apple. many in the world had deep fondness for the righteousness of FCP as it had intellectually stood.
and then Apple lobotomised it. They didn’t refresh it, they didn’t make a 1.0 version, they tore out half its brain.
there was always a groundswell status quo waiting to strike FCP down: apple simply handed it to them.
Apple were always morons with regard to the vertical reach requirement of pro software.FCPX is poorly envisioned software and it died the day it landed.
there are no magical updates: it is mangled stupidity as software and it is clinically dead.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
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it’s not a PR blunder – that is the narnian financial magma still erupting out of the Jobs era.
wait until you see next quarters results. they’re neck and neck with android again on new customers. It’s insane.
there is a fine analysis floating around that vast portions of Apple’s profits are simply based on re-selling flash storage.
that insofar as you can classify Google as an advertising company, you can classify Apple as a flash re-seller with a mark up to beggar the mind.
Just look at the iPad storage multipliers.Jobs, ultimately, was fifteen ley lines coming together: an ascetic Lennon meets a mercantile Turing bearing Dutch taste.
Apple surely will, once he finally dissipates, have, as a company, the ancient mother of all hangovers waiting for them.
the moves he made! re-orientating the development stage slate to the phone, before returning to the slate with a proven formula through mobile computing, after picking up the appstore – that stuff is fast Eddie Felson – you can’t repeat the shots.
because the individual no longer exists. The extraordinary american chemistry that created that individual represented a halley’s comet moon shot.
And so then, hopefully, once they, Apple, have crashed a little to mortal earth, they will belatedly turn to one of their most trusted bulwarks..
and we can all heartily give them the finger.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics