Aindreas Gallagher
Forum Replies Created
-
hey come on – there is always good boundless yank optimism – recently ground into ryder cup dust under the mighty boot of Europe mind you.
Seriously – how good was that tho? Monstered them.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[David Mathis] “key framing is a weak point with FCP X”
I posted this below in reply to herb about another thing – but feast your eyes and weep your tears on this baby.
also the text tool is insanely over-engineered? there are three kitchen sinks in there – but one interesting side effect is that –
if you’ve already set keyframes for position drift, you can effectively re-position the entire keyframe animation as a live selectable object from inside the title tool.super nice thing that. the equivalent of selecting all positional keyframes in AE. (Which you cannot do in ppro, first thing I tried).
basically though (bar roving keyframes), they went with full AE 5.5 style keyframing in that baby – tiny bit savage really…
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Bill Davis] “rather than a small and comparatively technically sophisticated niche users.
The good news is that even while the market has undoubtedly cheapened and broadened, the quality of the actual imagery that the creative pro can deliver at an extremely modest price point has skyrocketed.”
in fairness: if that’s not true, what is?
240 fps mobile telephones?
again – for posterity: 240 fps mobile telephones?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
apple might want to do something – realising parts of your cut can mainline into after effects from drag selecting specific chunks of the edit is slightly surreal.
for general purpose stuff at 1080p when I get back it seems to be – pretty much? – playing the stuff not caring at half res. and thats with multiple vignettes and masking with type stuff and other plugs.
madness this really: and quite a fiercely effective workflow.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Herb Sevush] “keyframing is better, “
that might yet stand as the understatement of the century.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
yes. It’s not like Apple can’t do this – look at multi-cam or the power windows, or the half incredible inspector lead timeline instance audio manipulation behaviour – all that aside, recently it’s like watching someone refrain from competition. Apple could pretty obviously kick seven kinds of ass depending on how inclined they are.
Even on keyframing – it feels like they’re nibbling around the edges – why not just tear it up a little? On market metrics they’ve definitely got a user base that can take some experimentation. They’re not supporting grannies and ten year olds with X – they’ve got a largely professional portion of what they had with 7 –
why not try to hit a ball pretty fast?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
you’d think X just needs to tool up a bit in terms of GUI stuff (say widening the audio meters or having interface presets? aren’t those audio meters insane?)
also the conditional role organisation based channels for audio the will smith movie editor mentioned, and a bit of a rethink on the access and manipulation of animation keyframes.PPro re-timing is a total mess relative to X tho – the timeline assembly for retiming in ppro is borked relative to X.
you can get used to it and I have doing some sports promos, but X basically unzips its fly on PPro there.But it feels like X has a continuous elegance of thought advantage without being willing to get down and proper nasty in terms of workflow. you can’t always play the beautiful intellectual game you would think. God knows adobe don’t.
Apple might need to accept getting their hands dirty advancing X.
which goes back to the motivation problem: is there an apple team, hugely reduced, without pro-apps even on the mission statement, ready to play ball.https://isachin.com/2011/06/30/why-apple-built-final-cut-pro-x/
things changed in 2006 and 2007. Serious competitors to Final Cut Pro came from Adobe, Pinnacle, Sony, and others. People were choosing their hardware and software based on format support, or specific features they needed. That’s boring. Apple doesn’t play that game.
the point is there is only this game left they’re playing. they haven’t redefined editing for market share?. the only question left is whether apple have any inclination to continue fighting the fights they were trying to leave six years ago. I’m beginning to think editing software is a hotel california and apple didn’t get to leave.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
it is getting crazy powerful though. even the fact that you have speedgrade looks you can bang on an adjustment layer isn’t something I’ve played with much until recently. The fact that there’s a half unloved but pretty world class grading system just sitting there waiting to take the timeline natively, or adjust the look is kind of bananas – also the AE integration is surprisingly useful? – to me at any rate.
I never used AE links, bar xml edit import because I never used PPro, but it sings pretty well, although I’ve developed a habit of duping and disabling the clip before I do the link – although that ends with the next update that can roll back to the edit item. Also that clip mixer – I guess you’ve got inspector level muting control that can propagate across the timeline – but the clip mixer is a big step up from tabbing audio channels in 7.
Also the animation and keyframing drop kicks FCPX out of the room. Seriously – keyframing has to be one of X’s weakest features.
Also its ability to chug any motley mix of 1080p h264 for corporate or broadcast internal like its pro res – right up to gel colour solids and screen mode 2K effects plates, alphas and blurs on a 2012 stacked mbp in realtime is something I’m still getting my head around?
You can do a serious amount of compositing and type work in ppro really. full feathered bezier masks with tracking means dodge and burn natively on the timeline. that’s huge really. I know you can sort of work that in X – but again that entire ppro initial grading masking work assembly can move transparently to AE for final finishing.I think a lot of people are going to start investigating best practise for combined craft workflows with editing design and grading in ppro with the other linked apps – as in they are already – I personally feel ppro is likely to become extremely attractive for some parts of the market once sets of best practise workflows start to get shaped in small to medium design and production houses – and become commonly known.
You’d be thinking for pitching, commercials – I mean it’s a great editor anyway, but parts of it feel just begging for pretty new cross disciplinary edit workflows?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
cosa after effects is the one motion design ring. it cannot be unmade by human hands.
we would need software hobbits travelling a thousand miles to break it on fire mountain.more so than PS, AE is around as unbreakable as unbreakable is.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
sure – but you know what I mean. OK he went to buy a big boat in the end but he had plenty of weird contradictions. He went on a dollar salary for quite a few years after returning to apple, but when the board convinced him to accept compensation he demanded a staggering amount of money and it became incredibly awkward for everyone involved.
He respected the merc as a machine no more than the pianos he hung, and he liked the ride, also he was a near billionaire quite soon after college so…
also he lived for a long time in a house that had a lamp and a chair and absolutely nothing else. he was sure he liked the lamp and the chair, but he hadn’t decided on anything else. The woman who designed all the icons for the mac went there and comforted him when he rang her out of the blue – i think after the death of one of his adoptive parents –
also he lived on oranges (or was it carrots?) for a period of months in his early twenties until his organs started to malfunction, pre-apple he would go for months without washing for a time when he was still kicking around, he named the lisa after a daughter he refused to legally recognise for decades – and he screwed many people he knew very intimately out of any compensation when apple went supernova – wozniak had to step in personally to make it right out of his own money – kottke is the worst example.
So sure he really really wasn’t the nicest person on earth – but –
I truly don’t think he was on any level the man for solid gold baubles in his stores with cartier style wrist straps. I think he would have thrown the board all out of the room screaming profanities for that notion. Surely the thing is that while it lived in his second incarnation Apple was effectively Job’s id. Or he was its id.
The death can be over argued, but the manner of apple: the taste, the personality – the paranoia, the mania for details, the vindictiveness, the sometimes iphone level jaw dropping globally altering results – that’s basically all him one way or another.
And that gold watch works as proof of his death, because it’s definitely not him.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics