[Aindreas Gallagher]

iphoto on iOS was quite the content creation app tho charlie. briefly. with a stage introduction and everything. And they killed that entire complex app front end – photos is now a shared media view with synced discreet editing tools. That thing is never turning into aperture inside that adjustment drawer, given it has to sync operations with an iphone screen.

that said I know – honestly I think FCPX is going absolutely nowhere – but if Apple are about to explode the itunes monolith it’d be interesting to consider what exactly comprises private user generated and commercial video content inside the iOS-OSX apple ecosystem.

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[Aindreas Gallagher]

hey – if charlie wants to put it that way, who are you to stop him.

[Charlie Austin] “iMove and FCP X are already the same app.”

what’s the problem? don’t be so persnickety. Richard. That sentence reads absolutely fine. just leave that alone.

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[Aindreas Gallagher]

Maybe – and photos are different to moving video – but the shift is to the content as opposed to a large multi-function app that sits over it asking you to import or select things.
iphoto was highly complex in comparsion to photos. Photo’s function is to expose on OSX shared content you know is already there.

ipad/iphone iphoto on iOS failed because it was an attempt to bring a full bore image editing app in. you’d think that was randy ubillos’s last hurrah.
Apple decided to strip the app away to sit in preference to media discovery with a bit of editing on the side.

apple will have have their own usage metrics to answer it, but the question is how people want to view their material – in the context of a complex full menu system heavy software app like old iphoto and imovie – or like apple photos, and the soon to be apple music.

basically – as consumers, their primary paradigm – are people supposed to boot up a video editing system and bring in their video, or do they call up their cloud based material in an extremely clean app that exposes it, and then decide to do a certain amount of an editing function. If it’s the latter – imovie as we know it is as done as likely is itunes.

photos is that app, and you’d think music is about to be as well. it’s a question whether apple keep with an extremely discreet heavy tasked based app like imovie for video, particularly if they really are about to explode the itunes bucket of everything paradigm.

then user generated and commercial video needs its own light, clean, software based expression on iOS and OSX. like say ‘Movies’ or something. to go with ‘Photos’ and ‘Music’.

It’s hard to see them tying that form of clean media sync view into something as complex as iMovie.

*edit* also it’s interesting that they’ve largely moved the old (horrible) OSX itunes to iOS app specific file transfer function out into the finder in yosemite – I’d really be shocked if that wasn’t preparation for largely breaking up itunes into smaller nimbler parts.

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[Aindreas Gallagher]

[Oliver Peters] “Who’s to say that Apple doesn’t keep FCP X as the main video tool and dump iMovie?”

yes. Its just when you look at the new photos its mad – it’s the same software view as on iOS – the experience is really similar and they’re both showing shared views of cloud based material. It’s not impossible to think that apple would want to tie video into the same framework? photos isn’t at all like iphoto – its a way of seeing your stuff with the same attached editing tools that sync across both platforms. it doesn’t feel like a big mad clunky discrete desktop app like iphoto did.

benedict evans, who’s a super duper smart dude, wrote this thing in his latest newsletter: Apple is clearly going to do something in music (replacing iTunes just as it has replaced iPhoto with a great new cloud photo service)

he thinks itunes is going to go. And If itunes is finally going to be broken up as a monolithic heavy app as iphoto was – then you get a really light, iOS shared cloud based music app on OSX that reveals the same media as on your iphone. and if that happens you’d think they might want to do something with all the video being generated on iOS? to give it a software view on OSX? then it could be imovie that gets radically simplified into a clean media catalog with some attached editing functions tied into your cloud/local based video archive?

Spitballing like – just thought tacking the demise of imminent demise of FCPX onto it would be worth it for cat pigeon reasons…

but if music is going into the new iOS/OSX light and fast shared app architecture like photos – if music gets broken out into a clean easy fast app (and please God it does) – then they’ve got to parcel out the other bits of the itunes chicken carcass some way – and that’s mostly video stuff – user generated and commercial?

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[Aindreas Gallagher]

it has excellent sliders that provide group control over multiple adjustment parameters, with the ability to drill down and fine tune.

It’s not hard to imagine certain similar assistance in X with group detection. detecting primary and b-roll and that. Could prove very handy.

professional editing is likely in safe hands with apple. they seem laser focused on the esoterica of professional demands.
I doubt there is a single aperture user that cannot seamlessly shift to this new apple provided software.

As for what this could mean for fcpx down the road? sure who knows. Rumours have it that role based audio mixers are set as a T. Cook level priority.

now – granted apple may be looking at all the ios generated video landing day by day on that shared paid volume cloud service, and they may be wondering about its future core integration, but you would feel there is still likely an explosive growth in R & D for the recently departed aperture equivalent that is fcpx.
nevermind that both pro solutions seem a storage bifurcation they’re not really in the mood for anymore. ios/osx shared usage issues like that are a small ball issue for apple right now.

their pro audio software also seems to be taking over the market.
and if you don’t believe all that – just look at motion, the fpcx paired twin. where development is just a roaring loud train.

If I was an fcpx editor, I would be completely secure in the fcpx editing paradigm as presented to me by apple,
for a range of really good reasons.

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[Aindreas Gallagher]

[David Lawrence] “you dial in the cut in by feel in real time. I don’t use it a lot but when I need it, there’s nothing else like it.”

you’d wonder why that live clip to clip affordance is something the apple timeline can’t provide.
they do seem a little buried under complex modalities and child parent relationships.

the timeline does seem at its best when you can just stare at it wondering if apple got engineer confused about about their audience.
I do love the bobbing white dot that reminds me of the active inspector object as I traverse the primary, secondary and connected video channels though.

because that is just editing to its core when you really think about it.
that process – with the bobbing white dot going from the primary to the secondary to the connected clips as i continue stare at it – that’s just the business.

thats editing right there. no question whatsoever. clean intent. a massive intellectual win.

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[Aindreas Gallagher]

having mucked about a bit with dynamic trimming in ppro, the one thing you’d wonder, given fcpx is a system in a form of constant ripple, is why it doesn’t have a dynamic state?

it defaults to being able to shove everything forward or back in a slaved connected state as long as you perform with the mouse – I’m not really sure why it can’t do that in real time? You’d say this – a live roll forward trim function in avid half answers most irritations with the lack of a track select forward tool, if you want to look at things that way.

fcpx seems like an oddly static city skyscraper timeline – gigantic edit connect blocks waiting to move in a paused quiet place you mouse around –
but it’s not exactly lively is it?

*edit* – for kicks – given I’m already staring at all these auto-committed parent child chained edit decision objects slaved to each other before I move a single thing – isn’t it all becoming a semi-concrete intellectual mush?

sorry – couldn’t help self. that said – the X timeline is an abomination. stay for the veal.

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[Aindreas Gallagher]

it’s not bad though charlie – I’ve found in context freeform bezier masking with tracking – such as it is – for CC a bit of a revelation? Nevermind you can plop the entire edit into speedgrade with a full roundtrip in seconds basically. that nearly feels ludicrous.

i’m one of the idiots that held to the old style of shifting the edit to AE for dupe layered screen/multiply masking dodge and burn with adjustment layers on top for final grade.

that ppro is currently doing that entire task in realtime, on native media, is still somewhat blowing my mind? X is grand-ish for CC – but ppro is outright crazy.

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[Aindreas Gallagher]

[Shane Ross] “Premiere does require more in order to edit native formats…it does require GOBS of RAM, fast processors, and a good GPU for smooth performance. “

I think that’s overstated? – an i7 processor, 16gb of ram and any gpu over a gig will do pretty much anything – in terms of card media and janky mp4s without a hitch.
that’s for 1080p – not speaking to heavy 4K or that, but for 1080p card native mixed with grab bags of codecs for broadcast/corporate reels, premiere will generally eat it like breakfast on anything half well specced inside the last three years.

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

[Aindreas Gallagher]

[Bill Davis] “Cutting with a stream of default mixed audio/video streams (X’s default sync clips) rather than cutting with all audio ONLY available as discrete tracks (sometimes locked to video and sometimes NOT) is one of the big differences in X workflows.
“

well I guess he’s not wrong there.

[Bill Davis] “Fight it and you’ll never love X.
Embrace it and ALL the pain disappears.”

I was going to make a Novocain gag but well..

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