[Aindreas Gallagher]

it’s the reasonableness that kills me bill.

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[Aindreas Gallagher]

ok fine – but in every way they publicly describe it – it involves their direct continuous involvement in the edit. they’re cutting scenes, shoving them in and re-shaping.

bar me having a wild bret williams party here – I just took a position on this. I don’t actually think this is an editorial craft development. It looks like ambitious process DI people on the make getting aggressively involved with directors keen to produce a scenario of their liking.

moron question round: would kirk baxter, and should kirk baxter, be happy at the sight of edited constructed scenes randomly appearing from david fincher as editor director. would that make sense. do other edit systems obstruct that scenario, or does basic sanity.

does the mecanno construction of FCPX allow for instant iterative lego editing such that you get old milk spoiling the directors point of first apprehension inside the editing room?

we’re all editors so – isn’t there supposed to be a demarcation of first apprehension? When the footage really hits you? the directors on focus kept going on about being plugged into metadata on possible alt takes throughout the process. What the hell was that about? It felt like they were selling a process vacuum cleaner.
Is that the classical scorsese directorial means to demark clean lines from shooting to the period of editing?

that said lets all have bret beers.

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[Aindreas Gallagher]

ok there brett – i guess? I largely said what I meant though. I’m currently sat away from home viewing a dump truck of rushes from paris fashion week. I don’t usually do that wearing a shamrock and a pint. It’s not that I mind the characterisation – it’s just a lot more irritating than you might think.

please enjoy milan below – the wipes are client lead.

https://www.youtube.com/watch?v=ZrKKkdl9ocA

that aside – the shift key remains lost in action. great to see dismissive ad hominem fires alive and well here.

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[Aindreas Gallagher]

some pull quotes for fun:

Final Cut Pro X is the first NLE designed around a data-centric ecosystem.
i’m not sure its column field entry is as malleable as avid AFAIK but ok. or if the data can reach into the script – that is apparently a thing.

“Previous NLEs were timeline-based systems that sat on-top of a database.”
but databases are good things right? are databases bad?
this must now be an intellectual argument for events and projects. on shared storage. wait stop. for a year. and make a library. continue.

In addition, one of the biggest advantages of Final Cut Pro X is the ability to edit native 2K+ without the need to transcode to proxy or “offline” files.
and here finally you have to be joking me. FCPX has been slow to react on new camera native formats. there’s plenty of it on this forum.
PPro generally has not. Adobe, for the time being, reacts like scalded cat. plus they own the open timeline. this line above reeks of bollocks.

Using Final Cut Pro X to edit Focus is about getting FCP X to explore an entirely new world of workflow potential and do everything better than other NLEs.”

from sharp previous ubsdell queries here: it’s possibly about two directors making a sock puppet out of a previously unknown sacrificial nominated editor in order to allow them to run a film edit like over-aggressive ad directors run a suite in soho. only now they’re not clicking their fingers, they’re shoving pre-baked entire edit alterations onto the editor, who presumably has to be a largely domesticated bovine animal for that process to happen.

I guess that’s the final nightmare of the FCPX project – breaking all the basic walls that surround the editor and allowing any director run amok with the moron’s primary timeline auto-correct facility to crash directly into the process of the edit.
because, historically, the director and the editor might as well be the same person right? Or at least some horrible mish mash of the pair.
yay for the apple contribution here. this is a use case to sing of in storied time.

that people like bill dis-avowed the white tower, so fine, but that apple is now visibly entering it is as the wedge of anti-intellectual aggressive director lead break down of the editor role is weirdly depressing.

if you read it through, the process of focus is absolutely nothing with editing as a craft. It’s not murch, it’s not an edit exploration, it’s directors plural, agressive DI people – it’s in no way originating in editing. I’m not sure anyone involved gave a cr*p about the editor that ended up editing it, to the extent they did.

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[Aindreas Gallagher]

you were talking at a pace there – I have a youtube channel selection. I sort of tip toed into it.

It’s my nerd channel selection but it’s starting to develop value? it’s lightroom, watches, DP 30 film interviews that aren’t replicated elsewhere, the verge, it feels initial but I’m more interested in youtube than I was. the identity of the DJ is some issue.

It’s interesting to me how much my own music curation tailed off after its first digital splurge in the ipod. that became an eaten meal. my own habits with music are really slipshod these days. But I’m still tied into trailing video fiction because of how strongly it currently hits culture. music is fighting a lot harder than true detective.

you’d wonder if magic leap and occulus are going to eat that narrative too. youtube is still a form of celluloid. there’s no way youtube just doesn’t look stupid on some level. If magic leap is true, and they can actually blend the light rays into your eye, then the means of transmission, curation and narrative form are humpty dumpty. and then youtube is just an interregnum that happened waaay back then.

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[Aindreas Gallagher]

[Noah Kadner] “Permissions are messed up. Try deleting and reinstalling FCPX and then repair permissions in Disk Utility.”

tasty. nothing like an application that lives and dies inside the mac windows dll shell.

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[Aindreas Gallagher]

[edit] – wes plate is a king – this just set me off on a tangent –

I’ll just point this out off a recent job because I hadn’t fully internalised it (at all):

you can now select a clip in the premiere pro timeline and paste it directly into the timeline in after effects.
you can select a clip in the after effects timeline and paste it directly into premiere pro.

a bunch of stuff like masks and keyframes work in both directions.

This is awfully interesting and madly efficient where assets are going from prep to delivery where key shot parts originate in the edit, and assembled parts live in AE.
to have the ability to source shot assets after the fact and plug back in in either direction is bonkers useful and enlightening.
If you have a situation where key shot assets are being curated in the edit going into AE as an ongoing process, that kind of fluid roundtrip is surreally satisfying.

I think people are overly hung up on the notion and efficacy of the monolithic shell AE dynamic link. To all intents and purposes you have live multiple object copy and paste which is as, if not more, useful in actual practise?

for kicks, and I had no idea until two weeks ago, you can also export an entire after effects project with all assets to premiere pro. to flat timelines.
It’s an interesting way to dissect stuff. If you want to quickly interrogate the footage assets of an existing AE piece.

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[Aindreas Gallagher]

[Walter Soyka] “iTunes is a spreadsheet that plays music.”

apple music = apple photos. you’d hope so. hard to think zane lowe was convinced to move an ocean for an itunes featured style crapfest.

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[Aindreas Gallagher]

I’d say this much – all the iOS photos are feeding into lightroom automatically after I bent the knee, and if I was more a of a designer the iphone based brush designer in action would blow my mind. you’d think it’s significant to the extent that software vendors can now capture behaviour, but also that then the software, at either end, has to match the behaviour?

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[Aindreas Gallagher]

[Richard Herd] “It already does this for stuff purchased through the store, but it can be done also using home share and apple tv.”

I know – but semantically – music inside itunes is a galaxy away from the user clarity of photos inside osx/ios photos.

you have the exact same loupe function you have on iOS, the same views, the same everything and bugger all else until you go to edit – because its a media exposure layer. And it’s really clean and fast. Given that the primary use case is your ownership of material across multiple devices.

itunes on the other hand is a Smörgåsbord of geologically compressed software shit.

photos versus itunes is at red shift level distance.

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