[Aindreas Gallagher]

wait – I’m stupid – do you mean to say Avid have twenty two million dollars left as cash reserve?

With fifteen to twenty million set against it?

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

[Aindreas Gallagher]

I just looked – you’re right – there is quite a lot of room to reasonably criticise this. Like a surprising amount of room.

the footage looks pretty ropey, and some of the b-roll shots in the cab where they’re working the ipad look almost scarily pedestrian.
And the black and white looks awfully muddy? It generally looks pretty battered in the fine details. The blowout on the buildings and exteriors is pretty crazy too.

mark has used that phrase with me before – to applaud the creator not the critic. but its seems a little limited to me – what if the creator is worthy of criticism?

Also – is anyone actually asking Mark to applaud the critic, or simply to recognise that criticism is valid? Or does he always want to applaud the creator? I get that Americans are unyieldingly positive and optimistic, but I’ve generally personally found criticism directed towards me handy/verging on utterly indispensable to any small advances I’ve ever made. Denigrating the notion of public criticism, where you have a reasonable professional basis to voice it seems ludicrous to me.

Also – and stating the obvious – this spot suffers horribly from comparison to Apple’s mega iphone 5S shoot to commemorate the superbowl spot. It’s obvious these guys were inspired by it, but well, in the proof of the pudding, they’re no Apple my friend.

Had apple’s spot ended up looking anything like that Bentley one, you’d think Apple would have activated the NDA’s, incinerated all the edit machines and burnt the phones in a smelting spot. we never would have seen it.

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

[Aindreas Gallagher]

Sorry for any trouble this outage has caused.

what a detailed reassuring statement from adobe via Kevin Monaghan there. Honestly, isn’t this a little insane?

Do they actually give a toss do you think?

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

[Aindreas Gallagher]

[Kevin Monahan] “if you cannot open an application because you weren’t signed in or the like, you can still open the application in trial mode. Here’s how:
“

so when the forced subscription falls apart due to absolutely no backend and the three guys left with sticky tape running PR, server maintenance, photocopier repair and customer response for the untold adobe customer millions – so when these guys tell us to now boot emergency trial versions of your software until an unpaid adobe gerbil staggers in the back door with a patch fix on a hard drive –

so that’s what’s happening now? that’s adobe these days?

say it ain’t so joe.

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

[Aindreas Gallagher]

reading it, I’m not sure it’s that simple – there are frozen client typekit font issues, for whatever that’s worth, and certain people are actually getting currently locked out of software.

on some level, for a certain percentage, live in use adobe software is getting killed in their shop.

If it wasn’t, kevin monaghan wouldn’t be directing emergency trial installs to those customers – as he has in the last hour here – as a solution.

I’m not sure this is throwaway. some of the stuff on their facebook is very bald, and it’s from their customers. posts are extremely specific.

People are being locked out in the working day, and the online stuff from the adobe backend is mental. do feel free to look up the adobe responses.

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

[Aindreas Gallagher]

[Shawn Miller] “I think there’s a lot of pent up demand for sub 10k cameras that; have better than DSLR ergonomics, shoot lightly compressed CODECS, have greater than 8bit color depth and have professional i/o options (HD-SDI, phantom powered XLR, TC, etc). Higher dynamic range also seems to be higher on the list for budget digital cinema shooters than it used to be. “

you’d miss the crappy sd digibeta anamorphic with a prime for the fancy shoot.
it’s pure mad how competitive cameras are now.

Just as well FCPX’s broader mission failed our end eh?

Sure as the avid man says – as long as you have to click on the keyframe to make it pink in the viewer to activate the keyframe adjustment, there is a finger in the dyke.

you’d wonder about that.

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

[Aindreas Gallagher]

[tony west] “the shape mask too.”

the shape mask CC in X kicks everything’s ass twice.

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

[Aindreas Gallagher]

[Shawn Miller] “Now I wonder if “

wondering has financial attributes hard to beat.

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

[Aindreas Gallagher]

[Shawn Miller] “. A modern, dedicated mograph tool with a scripting engine, plugin architecture, near RT performance in the $349-$599 price range could potentially sell like hotcakes. Though to be honest, the application you described earlier in the thread should really cost more like $1,000 – $2,000… you would have to pare down the features to get the cost down to $350.00, I think. “

yeah, I’m revising the argument as I go.. it’s just somewhere in my bones i feel, if it was built right, by like, the super right people, gunning for a serious market segment, there actually is an idealised VA mograph application that the brand new design crowd would gravitate towards to execute their core concepts. simply because they could feel it had been made specifically for their use cases. Very well made, nimble, basically real-time and deployable to multiple screen use cases. It’s the last part where you feel AE fails spectacularly.

I made the argument below with simon, but you could argue that a lot of the important mograph design work of the last 6-8 years (weighted to the back end), occurred in flash, and informed a ton of what is going on now? AE really did not lead the flat dynamic design aesthetic.

you’d think a lot of the current mograph aesthetic – and the broader procedural dynamics – are an AE latecomer outcropping of that environment and the practitioners who gravitated to it? because they had a clean room operating environment?

granted we’re bullsh*tting a fantasy application, but you’d feel a design clipper has a reason for being in opposition the QE2 that is AE.

https://www.youtube.com/watch?v=7WO9XRVfM7A

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

[Aindreas Gallagher]

[Simon Ubsdell] “Which is why Aindreas’ dream application is going to struggle. You can’t appeal to the Ae audience without offering the full range of tools and workflows that Ae has defined as “essential”.”

I’m not entirely sure still, although I’ve done a truck of stuff with the 3D camera tracker to be fair.

I simply think (revising again) there is an addressable market for a mograph tool that isn’t flash, which is dead, and isn’t AE, which is, being fair, incredibly bloated. I’ll go on record saying I don’t see it as being bloated given I got my employer to pay for natresse grain surgery before adobe absorbed it – I’ve never been more than a b-level player with AE, but I feel intrinsically comfortable with it because I saw everything come in over the last fifteen years. the only thing my brain shut down completely on was typing out expressions. I’m not doing that. I’m not making a section of my brain for that grammar. not happening.

AE is over weighted for the task of mograph – and there were a ton of people doing extremely interesting mograph out of flash that largely informed the aesthetics bleeding into general AE work the last half decade.

there definitely is space for a focused mograph thought leader application dedicated to brand mograph video execution as long as it operates transformatively at near realtime for them, with a suite of truly excellent design tools and has a sticker price between say 350- 550 as shawn posits.

I don’t think there is any sense to this mindless defence of AE as an inevitability given a lot of the fresher work was being done with flash when it was the live design environment under a competitor. This defence of AE now, taken in that context, feels like extremely lazy thinking to me.

I don’t care about c4D, and for the purposes of this response I don’t care about LUTS. (ha ha! malleable position) I think there is an argument and a commercial viability for a tool that can demonstrably answer mograph cleaner and faster than AE.

(also If anyone says motion once more – they owe me a kipper) …Motion is the spotty exchange student that everyone in brand new design mograph disliked before they ever met it. motion is as consequential as betamax.

we’re talking about a well constructed, funded, blade sharp mograph effort that challenges AE right at its brand asset execution core.

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