Aindreas Gallagher
Forum Replies Created
-
fair play. Yes, Horace is the man, his stuff is brainy aces generally, but as you say 2 billion is hard to square, the math is units sold times price in the end, and you’d need some zany numbers to hit that.
sure the only thing that’s important is that it is seen as more than paying its way, and represents a no brainer strategic stake in the future of media production.
Given Alexa, Blackmagic and Cion are ProRes vending machines, it seems incredibly unlikely, given their history with adobe, that Apple wouldn’t keep their hand in with software that handles it on their own top end hardware. They’re unlikely to rely on adobe or avid to strategically answer their need for a top tier prores native editing system to push their most expensive hardware, given neither editing system is particularly at all pro res native.
mind you – ppro, on a stacked machine, encodes prores at a speed that actually blows my mind. granted there are 24 cores and 64 gb ram, but good god that thing can work it. a 30 second spot goes out in 5 seconds. I look at my watch. It’s ridiculous.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
that is FANTASTIC. I’ve never, you know, actually seen lemmings? why did I never look it up? That was bananas.
Also, as lemmings go, there’s a warner bros lot with a will smith film planted out there in the water. decent riposte surely.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
hang on tho – I’m all for pro apps being a healthy sector bringing in coin for apple, but isn’t there a basic math problem with the X install base multiplied by 299? even including logic and the fifty dollar apps?
How do we get to anywhere near 2 billion annual turnover? Doing iphone calculator sums even if you take a million X purchases the last fiscal year – and I’m not really sure you can given apple’s public statements on the total install base – that gets you 300 million for the year say –
how do Apple get their hands on the other 1.7 billion?Again – I’m down with a healthy pro apps team bashing on, but 2 billion in pro apps sales for a single year sounds like an unusual number, unless adobe are laundering money for tony soprano or something, which I have heard scuttlebutt on.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Charlie Austin] ” are a much better way to manage audio in a cut. Not visually at this point,”
charlie, without wanting to sound in any way dismissive here – visual understanding has to be a pretty key issue and omission. audio elements are either locked in a VA container, or they are detached elements with no sync information – or are fx stuff and they all jump up and down like yo yos depending on your edit actions.
that’s not exactly a massively workable scenario.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Charlie Austin] “The “industry standard” is still MC Aindreas…. get to work! :-)”
You’re not wrong…
[Charlie Austin] “Maybe not an issue if your source has 1 or 2 audio channels, but juggling 6 or 8 from the source, and 24+ in the timeline is an enormous waste of time. “
ah no – to be fair bud, I did say cut a top gear promo for international sales for BBCWW where I intercut the guys between seven different dubbed languages as a gag. real benny hill thing – lots of fun, lots of preparation. you do sort of need clearly defined rigid audio tracks to play that game.
(edit – not blowing my horn there – point is that was one of the more complex audio edits i’ve done. half the translations drifted to different timings as well. It was mayhem. I believe you need tracks there.)
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Oliver Peters] “Except that FCP 7 couldn’t do it without losing the renders.”
no indeed sure – all my stuff with CC is easy mxf via avid aaf so far, although I’ve monstered it a little with mixed stuff elsewhere, I end up thinking that it can handle things quite well and it looks a lot like AE with a basic 7 philosophy – I could kiss that – frankly I have kissed that. I’m not really a viable case study.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Oliver Peters] “”Avid is not an open timeline.””
fair enough on everything else but – I meant open as in pliable.
[Oliver Peters] “In fact, that’s basically how X works. I think what you are really reacting to is how filler (blank space) is handled.”
frankly they can both go to hell. video objects exist in a clean vacuum yo. not a pointless gravity space requiring filler to sustain object separation. avid and X can both take a running jump in a lake on that notion.
[Oliver Peters] “[Aindreas Gallagher] “you can’t even disable a clip for god’s sake.”
Soon. But OTOH, you CAN change track visibility (monitoring) without losing renders.”
what, good Peters, is this basic trivial required render you speak of? is this hellish avid logic? that avid ever thought this was a 2014 feat? To turn on a video layer in real time. such achievement. much wow.
sorry – but come on.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Charlie Austin] “No clip collisions/accidental overwrites etc.”
What are we – special requirement editors? super clap handies moving dot happy connected timeline fans? I get that people say its fun, but seriously, given no production house on any scale in the UK or broadcaster is touching it with a barge pole – what is anyone supposed to do with that.
apple laid an egg with X. the egg is nearly three years old. certain people are doing some amazing things, but relative to what apple had in 7, they now have a dead egg.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
I’m developing a thesis there…
OK. Avid doesn’t really want you to even use a move tool, certainly a really large number of avid editors I’ve recently encountered don’t. Avid is not an open timeline.
Its entire notion is a careful keyboard IO driven set of additions to a cardinal timeline. Once they’re in there, they are supposed to be sausage links in a video chain – you operate on the link points. All avid ever is is a timeline trim operation. Basically, in their terms its one great lump of video where you faff around with the trim points, but really, they don’t think you should be doing too much of that. because you made the edit decision right?
you can’t even disable a clip for god’s sake.that’s all fine if you’re making simple deadly serious assemblies of performance and scene. But it’s all rather awful if you are trying to throw around an absolute ton of elements and alternates, making grab bags away down the end of the timeline, for any million of different reasons that arose in all the new edit use cases over the last ten years.
Avid is completely awful for all of that. also the effects handling is utterly ludicrous, the key framing is a joke for the ages, and if it was any more clicky track patchy – you might as well just go and call yourself a seamstress. so there’s that.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Oliver Peters] “With the exception of Aindreas’ “lust” for Premiere Pro”
hey – hey now. strong words sir.
Avid is a bag of cats that wants you to see the timeline as a sequence of keyboard driven additions or deletions from a growing or shrinking sausage link chain of uninterrupted video, where you act only on the trim points. they don’t want you to see discreet video objects with intrinsic parameters you can act on with a tool palette of slip slid roll tools. they want you to see a monolithic assembly where you hold down three keys and drag left to right to invoke a wildly over-engineered trim mode at the cut points.
I find that about as aesthetically appealing as a root canal personally.
the X timeline is a basket case of primary, secondary, nearest neighbour, second cousin, active dot, tilde to de-activate connections mad hatter’s tea party. It also has mathematically zero uptake in the UK – anyone? Bueller? So it sort of slightly doesn’t actually exist in local terms.
the only thing I can make out from my limited vantage point that still looks sane to me is 7, the dying king, and latterly 8 – also occasionally known as premiere. And adobe have effectively bet the farm on making premiere work like it should for a vast majority of the market. I don’t like rental and I ain’t going to do it, but its heartening that someone (read Al Mooney Doctor Who fan) is pushing a sane replacement for the rather massive stranded FCP base?
I wouldn’t say I lust for premiere, but it’s odd to think if they hadn’t pushed it and we were all left staring in silence at X or Avid.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics