[Aindreas Gallagher]

I know – and you’re not wrong – it looks well implemented, and to be fair, I didn’t pick 2005-2009 because 3D titles start turning up… So. For my money the 3D titles that jump into my head are Harry Potter in the later films. Big, monolithic, super moody. That slow drift through them into the opening shot is pretty iconic. That said they’re some pretty serious photorealistic maya polygon creation but still, they’re as 3D distressed metallic as it gets…

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

mmm. rather – I’d take any of these any day of the week.

https://annyas.com/screenshots/2000-2004/

Wes Anderson has been working neatly with perfect weights and placements of Futura in whites yellows and hot pale blues for twenty years.

The idea that the presence of material shaders, brass rust and complex profile bevels equates to typography like the fancy films do it kind of says everything about FCPX and its natural market cheerleaders. In terms of successful titling, you’d think the fact that its keyframing system is mangled would be considered a bit of a serious problem. But… apparently not, given it can produce cheesy 3D titles that look just like them there big fancy fantasy films

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

It’s everything I ever personally dreamed of. They chose to lead with nineties 3D brass glint photoshop titles four years in. You can’t buy that stuff.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Scott Witthaus] “it’s good to know all three A’s.”

I’m only trying, in my small way, to push for a situation where, as the song goes, three become one, and then Andy doesn’t actually have to bother his ass. Andy is surprisingly lazy.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Simon Ubsdell] “Attend to the Clouds generator – this is a fundamental procedural building block but the current implementation is really amateurish and is a serious stumbling block to achieving good-looking results.
“

please Mr. Simon, tell me say… five interesting, generally unthought of things, that can be initiated with the cloud generator, which I guess is basically fractal noise, that you might do.

I use AE turbulent displace once in a blue moon? which is a shortcut to some of the outcomes, but spill some hidden knowledge sure. I’m curious? Is it all distort type stuff?

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

actually yes – it’s possible to directly access many of the interface tool and button icons in PPro and adjust them (as in adjust/remake them in PS). Quite a few people did around CS6 Ppro time when the contextual slip slide roll tools were felt a little overbearing. When the adobe team heard about the modifications they published a blog linking to the designed files. Nevermind the ability for third parties to create entire custom interface segments. ITV is running custom PPro panels for asset and meta data management.

See? It’s a hotrod where you can pop the hood. your one looks quite pleasing (arguably) but it’s a big old lump of aluminium without any screws..

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Mark Raudonis] ” I’m further convinced that the notion of “One NLE is best” will NOT be the case. As one NLE rises, so falls another. And so on. And so on.”

Absolutely yes for sure – for the amount I actually know at all – was only half looking to stir it up from the cheap seats..

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

such a cracking spot.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

for sure – it was tangential. Genuinely not doing (largely) an X knock here. I’m incompetent using it anyway. I shouldn’t.
was just struck by the level of agreement around what adobe were likely engaged in, the producer citing uptake directly to the audience, even the bit at the end where they agreed it wasn’t a 12 month outcome fait accompli. but the notion that they were agreeing on a slightly longer timeframe, which it really looked as though they were at the end, was crazy striking.
I don’t think I’ve ever seen software do a two year roman advance like PPro? Mollinaire Paint and effect, Combustion, X-res from macromedia, a million 3D packages, none of that went anywhere – I can’t recall a company stepping into any area so previously un-owned by them and owning it like this in donkey’s years. At least it shows that adobe can really, really still turn it on. Project Candy is channelling full specification cube LUTs from your iphone capture to Premiere Pro for god’s sake.
As a bend the knee subscriber at least this is all something to gawp at.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Simon Ubsdell] “Sometimes what’s missing is not the tools but the knowledge of how to create effects – and your own “tools” – out of the simplest building blocks.”

not fair – you’re sat snug inside that stately mind palace. Not for everyone to preconceive any given outcome inside any point of a tool chain.
That’s why God invented after effects. It has decision gravity.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics