[Aindreas Gallagher]

yeah – I might’ve been over egging the loving preparation of a selects reel – but –

[Andrew Richards] “FCPX could give you that kind of quick access to screening good takes (mouse over, JKL, repeat), but it wouldn’t put you through the rigor of laying anything out as any kind of a rough edit.”

for one – its the old NCO offline chappie that’s tasked there methinks to feed the reel through, but honestly – if you offer someone the choice of a selects reel in its own monitor, or jittering the skimmer around the filmstrips tagged select as the edit timeline viewer collapses into the source monitor – its just not going to fly. No one is going to buy that as a workflow improvement because.. its not. Working rigorously to lay out a good selects reel is a part of the process no? just like rigorously naming your clips for easy recall, rigorously preparing and categorising the bins – none of this stuff was broken or went out of style.

Larry Jordan said on those editing guys podcast there (… its called something like that – I think they’re aussie), that it was his understanding that appple got REAMS of detailed feedback from top flight editors on these issues – they just chose to completely ignore it. those are almost precisely larry’s words. So that, even with their limited beta feedback, apple chose to pretty much completely disregard it.

to quote another word Larry used more than once on the podcast:

hubris.

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promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

Nah that’s my understanding too. Its just that I don’t see how metadata relates to the practise of selects reels. Consciously trimming and preparing a reel of takes for viewing and use in the main edit or whathaveyou is pretty different to just dragging a yellow bounding box around something and typing ‘selects’ in the keyword box.
Metadata is getting kind of crazily overrated and overstated in this release IMHO. You’d swear it was the ark of the covenant or something?

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promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

yeah that’s the one – but I think he’s actually talking three before you get to external – I don’t know features editing from a hole in the ground, but I think selects form a rather important part of the process – hence they typically have…

“we use source material, select material, and then our edit material, so we use three monitors. You can kind of force yourself to change, but why? It might be better if you’re working on a laptop, but if you’ve got three monitors to work from, then it’s not better — it’s constricting.”

He means that they habitually have, in effect, two source monitors. I think viewing the selects reels in pretty intrinsic to features editing, doesn’t really have anything to do with ganging or anything like that, they demand three sources – not one monitor flicking constantly between the timeline, the source monitor, and the selects stuff, which does sound amazingly stupid when you think about it. Apple have done it to squeeze the clip inspector and the skimmer stuff on a laptop destined GUI. its laptop interface logic – basically that Apple have gone way too far in removing the source monitor – I personally feel that strongly. I think its a giant mistake. I think the source monitor is intellectually valid and important. I think you need a persistent second window. Anyway multicam directly calls for a functioning source monitor of some kind – so they’re going to have to solve it one way or another.

[Andrew Richards] “Selects reel? Swimming upstream. This is what metadata is for.”

I’m not sure that captures what a selects reel’s function is – but I’d let someone besides me who actually knows what they’re talking about step in on that one.

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promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Andrew Richards] “When you shed all the legacy celluloid requirements, the feature pipeline gets a lot more FCPX-friendly.”

they’re probably going to want to look at source, selects and monitor aren’t they? Or at least, that’s what that oscar winning editor chappie said in variety – no source monitor, no dice.

Also another film editor made the point on this forum that on a typical duration film selects reel, the skimmer becomes completely unusable.

I think if one were a film editor one would say pretty unequivocally that FCPX is not fit for purpose.

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promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Neil Hurwitz] “It’s just not that complicated.
Mommy Mommy Mommy The bad man took my toy truck”

as one who can be accused of it – that’s blatant trolling.

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promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

you’re right – shill is too strong – but I really did think he carefully set up timeline scenarios to show why FCP7 was “bad”.

And hey – my posting rate from the mad ranting height is waaay down.

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promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Craig Seeman] “There’s just far too many ways to make a mistake in FCP7”

mmm.

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promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

he says “destroying your timeline” in relation to FCP7 way too often. It smells of shilling a little. You’d swear the old FCP was slicing limbs off with its uncontrolled collisions.

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Larry Watts] “Follow the money. I’m a little suspicious about where a lot of bashing is coming from. “

thats ludicrous. the level of industry steam coming off this release could fire a locomotive.

[Larry Watts] “give Apple some slack. They aren’t taking FCP away from us. “

they. just. did. Phillip Hodgetts, Larry Jordan and Michael Wohl have all agreed this should have been called a new product, in conjunction with continued legacy support for the existing software. Apple did neither of those things. On a basic level, that’s a really bad sign. Craig Seeman has argued pretty strongly that there should have been full transitional support ala OSX – OS9. That apple chose to bring the knife down on the neck of FCS3 is crazily unnerving behaviour for any editor heavily invested in that software. Its near complete madness.
Personally speaking? I think Apple have gone wrong. They’ve got more money than the US Treasury, and I think the idea that they can even conceive of realistically serving editing professionals is picket fence wishful thinking. Apple is gone very big, and very weird. If we’re a cult of Apple, what’s happening in cult HQ?

They’re bigger than scientology for God’s sake. They’re nearly bigger than US oil. And they believe they are a.. mission.. based technology company meant to redifine the commingling of technology and the arts. taking all this altogether – is that really the ideal sane model of a good editing software provider?

[Larry Watts] “I think Apple will find a way to make all editors very happy by adding the many features pro editors want. “

I’m not sure what the direct acronym opposite of FUD is – but this is it.
It’s definitely bending the knee to the sixty foot high, completely silent, egyptian hieroglyph laden, apple logo statue.

[Larry Watts] “They will probably make us have to stop our old tired bad habits and see editing in new ways.”

Ah. so this really actually is 1984.

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promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

[Neil Goodman] “i apologize, i did mean just connected clips. Why would i want to wrap somethin in a second storyline while im building an edit, just to gain the function of a roll tool? ? what if you decide the next connected clip needs a transition or to be rolled with the previuos clip as well?You have to take those 2 clips out of the second storyline and start again ? The break apart clips button just breaks em off one by one until your left with an empty story line attached to your primary. Surely this unintuitive and a waste of click after click, just because you decide you want to roll and edit point.

Unless im missing something, i couldn’t find a way to add to an already existing secondary storyline .”

I’m literally just reposting this.

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