[Aindreas Gallagher]

[Craig Seeman] “I don’t want an NLE that makes it difficult for me to tag a clip multiple ways quickly because the same clip may be used in different contexts.”

well.. alright then so.

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

[Aindreas Gallagher]

[Craig Seeman] “If clips need to be in more than one place it’s easy to do.”

no.

I think that’s fundamentally wrong too. Clips have a physicality, to be altered fairly sparingly – where i choose to place them, the bins I choose to place them in, has consequence and develops strictures, one thing, as it were, cannot be all things –

the kind of tagging I associate with, and practise with google reader or things, (that fab organiser,) is simply not appropriate to an editing environment where a finite number of editorially critical elements are coming in – things need to be put somewhere, things do not need to be propagated by keywording into an infinite mash number of smart keyword locations. it argues against the basic understanding of the material at hand. Or at least diffuses it incredibly for questionable worth.

when at the critical end of the edit, as you search around for those last few desperate frames, to find yourself with all of your original material cloned by keywording in all directions – as you look at a hall of mirrors – what exactly to hell are you supposed to do?

the discreet physicality of the originating material is of real importance in a non linear editor.

Given what we casually – and causally – do to the material in the timeline… you could indeed argue that the material’s physicality in the browser allows for its intellectual malleability in the timeline.

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

[Aindreas Gallagher]

[Craig Seeman] “keywords, smart collections, Favorites is far easier to organize then bins ever were.”

hello…said the troll.. but seriously – really? why? I genuinely, fundamentally disagree with this point. In my bones. My ability to make clip bins as infinite clip container objects to fling things in is a little intrinsic to the old basic mental edit process, I feel.

the things you describe are a great way to organise things because they are screaming at you, every second you use the software, to organise things. It’s genuinely irritating. it’s like the software is roaring at you to categorise from the first instant and from then on continuously – I am, on occasion, deliberately messy – bin descriptions can become highly esoteric for me – they can be – “the very last graphics” – I need to be able to do that – I need to be able to make sloppy conceptual buckets – I like to be able to think that way – and by god an assigned keyword is not the same mental construct as a bucket. Buckets are made casually, and intermittently, then, careful thought can go into what is to go in, maybe question just how loose you’re running things under pressure.

The point about it is, as I reach the critical picture lock, I will clean up those buckets – I enjoy that period of the edit – re-rationalising my thought structure and moving all the stuff around between the disinterested bin containers, It’s like a lovely period of scratching as I consolidate the contents of, and delete the temporary bins I had constructed to cover the very hectic periods of the edit.

But dealing with keywords neither feels or acts anything like this – it is.. germanic in its outlook and operation – I am sometimes germanic in my editing process, but sometimes I need not to be. that is where the malleable absolute nature of a bucket comes in. Buckets are important. Much like malleable absolute timelines – they are not interested in my specific approach because they are sufficiently powerful and utterly objective in their nature to encompass any given approach from any given infinite number of practitioners.

but of course now apple have broken that wall between clip container and object, everything is glued to the other thing – I have no room or space, nothing is in a bin, everything has multiple magnetic word decals applied to it. All bloody metadata, all the bloody time. I can have enough bloody metadata.
It’s not the ark of the shagging covenant.

[Craig Seeman] “Nice scopes.”

absolutely no argument. some of the quality in this software is heartbreaking.

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

[Aindreas Gallagher]

craig seeman and chris kenny in..

5.. 4.. 3.. 2.. 1..

ah just kidding.

mate boris posted using it in anger on short turnaround a while back – the sudden failure of autosave, heralded, as he described, by a beeping noise when you press command z, actually shocked me personally, in my admittedly limited playing around, I haven’t encountered that.
an architectural instability of that order, in published software with no trial is kind of mindboggling – and he’s not the only one saying it. Other people have reported save instability – the autosave mechanism, not dealing out prior dated project versions to the finder, is a black box, and an unstable one.
I’m not sure if versioning can step in – has it yet in Lion?

Craig Seeman has, if I recall correctly, described this as being closer to alpha than beta software, and I think it was chris harrington who mused somewhere that there may well be *no blood at all* on the carpet in cupertino – they just popped this thing out, and then they were off.

I know – that last statement reeks of FUD – but seriously: does this look to anyone like a well observed, well managed, well de-bugged software release?

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

[Aindreas Gallagher]

I would really like to laugh my moobs off.

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

[Aindreas Gallagher]

that’s very true – after effects has absolutely oceans of free training, articles and advice – there are about a bajillion tutorials on the cow alone.

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

[Aindreas Gallagher]

After effects would generally be considered the natural home for those kinds of animations, but its pretty highly complex overall as software. You’d need to set aside quite some time for software training – and that’s not even getting into the design training/awareness aspects of producing the kind of work you’re describing.

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

[Aindreas Gallagher]

from the post:

We believe that the vast majority of these editors – and probably you, too – will be using FCP X as their professional editing platform within a year.

i think that should read:

We fervently pray that the vast majority of these editors – and probably you, too – will be using FCP X as their professional editing platform within a year, because if the entire market segment known as the “FCP market” falls apart, as it looks it might, then we are completely hosed, so please follow us now as we explain why there is no problem at all with FCPX. We’re going to make the argument by warbling on about the miracle of handling codecs directly, then we’ll say things like “real time that defies the laws of nature”, then we’ll draw the definitive conclusion that in a year everyone, everyone will have bought and be using FCPX, and so we’ll be able to still sell them plugins, in an application that doesn’t allow custom GUI elements, which must be annoying for people who use colorista but lets not think about that right now. In conclusion: please buy this software and begin using it, we are begging you.

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

[Aindreas Gallagher]

who poured water on FCP? What happened for God’s sake?

Oh my God its moving towards me. What, oh sweet christ no what’s happening?

aaaaaaaaaaaaaaaaaaaaa

https://dl.dropbox.com/u/3421180/FCP%20got%20wet.jpg

we could, you know, do a funny photoshop thread.

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

[Aindreas Gallagher]

yep indeed – I mean – who wasn’t rather utterly fascinated by david lawrence’s post on time? I’ve emailed that to a pile of mates.

If nothing else, this release has provoked some truly interesting discussions on what an NLE and its timeline, as a conduit to editing, are actually meant to be.

As in; is there such a thing as an ideal, objectively fundamental state for time based editing, and does this release diverge too heavily?

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