[Aindreas Gallagher]

Not that I know what I’m talking about really – but it’s an interesting conversation so what the hoo… but isn’t this all so utterly unrecognisable from the situation pre the iphone?

The first thing I remember buying was ram doubler for OS7 – and I may have bootlegged a bit in my time too – but the idea that around a billion people would be perusing software additions for wireless download as a hobby on a daily basis would have sounded like total madness even ten years ago. One way or another software looks like shiny little smarties for 95% of the people who encounter the idea of commercial software today.
What’s not clear to me is if this has despoiled the previous dark ages natural market of people like us generally accustomed to the notion of a fairly serious software purchase?

As in I get that people trying to sell software for something more than 99 cents are having issues in the mac app store – but in a parallel universe without the iOS store that begat the playstore and the windows store and the mac appstore, in the absence of those, would the vast majority of the people currently at it be still somehow attempting to enter software authorship in the first place? Isn’t this the same old stuff of the removal of scarcity that’s going on in print voice music media in general?

I thought marco arment’s breakdown of the profit cycle on overcast was really interesting and brilliant of him to have done – ditto for the guy who showed how it played out for him advertising his blogging tool on daring fireball – they both made good cash – but given the barrier for entry is now close to zero, the chance of being totally ignored has shot up like a sky rocket at the same time?

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

[Aindreas Gallagher]

the fact that this thread has gone bonkers on a single job posting found in the wild answers the question in a way?

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

[Aindreas Gallagher]

[Andy Field] “+ years editing experience.
• Strong Final Cut Pro X experience. (FCP7 or Premier exclusive editors need not apply)”

finally, after years waiting, an ad that matches the scientology of FCPX.

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

[Aindreas Gallagher]

[Oliver Peters] “So, sitting all day is bad for editors’ health. What if Apple decided there was a way to only operate FCP X while standing up? ;-)”

In that instance small electrical shocks delivered through the apple watch would be the best thing. then the magnetometer on the iphone could register you staggering to your feet and the mac, the iphone and the apple watch would all play a trumpet medley simultaneously. days of wonder really.

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

[Aindreas Gallagher]

someone pointed out there recently that as a professional, with adobe offering virtually everything you need to do the job bar hardware, the idea that you would balk at six hundred dollars a year is a bit rich if you consider people who have to maintain say – a vehicle – buy it, repair it, fuel it, pay tax on it, congestion and parking fees for a year as a basic cost.

It kind of does seem like paid software in our area is getting eaten by companies at varying scales more than willing to make it a loss leader thunderdome/meat grinder for hardware or ecosystem advantage. I’m probably past the point of throwing tomatoes at adobe.

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

[Aindreas Gallagher]

there is something to the notion that inside the apple dojo, perfecting user experiences runs a little into perfecting user behaviour. There is a bit of the maestro problem there.

I never personally madly hankered after a bonkers timeline – but apple made a number of full on decisions about what a timeline should be, and how new editors should operate when preparing and executing an edit. I like the fact that they’ve stuck with it thus far insofar as they aren’t completely obsessed with aluminium force touch and terraced batteries, but in terms of an apple nanny, the X timeline is one of the most nanny-ish primary secondary auto linking thing ever made. It’s partly why a person might involuntarily spit the editing system out every time they go near it.

Apple deciding to intervene in health to better outcomes is kind of hard to argue with, but I do have a weird vision of them seeing users as shrubs to tend in their walled garden. The very rich and the corporate are really probably not like us?

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

[Aindreas Gallagher]

last bit: I guess my curiosity is whether, given the previous pieces on this, the team pushed to have FCPX as the primary editing software initially because of workflow potential? Whether the production was married to process and input and an editor that could fit? that’s cool, and as Oliver pointed out, I know zero about feature editing bar that it involves functioning relationships. I just wonder if the pre-requisite was a relationship that allowed primary scene handling outside the editor.

I made a cheap crack about Soho and commercial rooms relative to this, but I have a child like notion of the dialectic exchange between the feature director and editor, I had not previously factored in an editor so unmanned that scenes could or could not originate with him or her, or changes that would arrive pre-baked completely outside him. literally inside the software as opposed to discussion. People have made reference to directors who edit directly. Grand that’s true. Sure directors can get thrown out of edit rooms by edward norton. But those are violent moments and I can’t recall such a machined scenario in terms of software strings that take can take the editor’s hands off the keyboard inside the software.

I’m curious, up there in the god’s, where people go to the oscars, exactly how many editors would be willing to swallow what is the equivalent of a software engineer taking over their screen to direct their tool?

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

[Aindreas Gallagher]

I do love aldrich. the killing of sister george to the dirty dozen is kind of hard to take in. Him and Nicholas Ray and all.
Also what in God’s name is Glen Ficarra doing down here. We could have baked a cake, and I could have made slightly less dodgy arguments on the director editor relationship.

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

[Aindreas Gallagher]

I feel I should point out now, yes overall now is the point I think – that I was just rabble rousing old X canards from the cheap seats here?

er. What the hell is the directorial team from the studio feature Focus doing here? Is there any kind of easily available back exit I could use? Bueller?

anyway – crazy to see a descent from the gods – also fierce interesting reply to walter there. So X is great, everything is great, and if everyone would look to their left there is a giant moose… and I am neatly gone stage left by god.

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

[Aindreas Gallagher]

[Herb Sevush] ” IBM exhibit in the New York Worlds Fair of 1964 “

this is an entertaining thread. that’s one of the charles/ray eames ones right? There’s a decent doco on him and ray from 2011 – james franco narrates because james franco. that exhibit must have been utterly crazy to see at the time you’d think. also powers of ten for god’s sake.

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