Aindreas Gallagher
Forum Replies Created
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well, if they’re Americans students between the ages of eighteen and twenty one, they’re obligated under U.N charter mandate to get roaring drunk in London pubs on at least a few occasions.
Buying that beer for them would be another matter altogether. Have you seen drunk American students?
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[Dennis Radeke] “and it made me touch the keyframe editor…”
my sympathies dennis. That must have been… difficult. I find a strong cup of tea and staring out the window afterwards for five to ten minutes helps.
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[Oliver Peters] “Second, AE needs to maintain cross-platform parity. “
I know – but didn’t I say that?
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adobe are up to their eyeballs re-architecting the guts of AE – CC2015 AE has multi-processing formally taken offline for the duration. That should give an indication of how far into the entrails they are.
I’m inclined to leave them at it – but some of the speed increases on AE effects demoed under metal were pretty mouthwatering.
But the fact that Todd Kopivra doesn’t want to nail his flag to the mast on metal isn’t maybe utterly surprising. They’ve probably got a couple of considerations as a cross platform vendor. In a way – if they went hell for leather with metal it would almost work out as a reverse of the windows cuda situation they’ve just half backed out of.If there was a lot less joy for windows CC customers in a heavily metal focused scenario I doubt Walter or Chris Petit (who just forked over for CC under duress) would be exactly over-joyed?
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Neat line on the merits of over-delivering the end product there: “It’s kind of like surgery – they don’t really know what they’re going to get until you deliver it.”
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[Jeremy Garchow] “I rarely drift or scale type, or perform sneaky push moves on shots, so it’s not that big a deal to me.”
And that’s absolutely valid. I totally get that.
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No no. let’s really dig in here jeremy, let’s really taste the flavours.
I just opened up the app and played with setting positional and scale keyframes at the same time.A couple of things:
first – I said a small prayer that i’d never have to do that again. please god never in a client situation.
second – can you see positional and scale keyframes in separate context at the same time? It seems you can’t. So that’s interesting.
third – is it actually impossible to set ease on scale? things just bounce up and down like ping pong balls with scale?
Did they actually build it like that? Am I missing something? You right click on the scale keyframe and you only get the option to delete it? Tell me that’s not happening. Jeremy, for the children, tell me that’s not happening.fourth – that keyframing system was built by someone whose dog was killed by an effective keyframing system, because they really hate the idea of keyframing. How could apple crash the plane with keyframing that badly? How critical is subtle positional and scale shifts lately?
fifth – did I mention that keyframing system is a nightmarish bombsite?
sixth – when you set the keyframe timeline to show all you lose the ability to select smooth on position only keyframes? You just get the delete option? Oh the humanity, the endless awfulness of this thing. Apple may have made the worst keyframing architecture ever made – because it really has to be in the running. It’s jaw dropping.
seventh – so that keyframing system really is vengefully bad. Like the joker in Gotham built it bad.
man that’s a worrying keyframing system. it’s just so weirdly terrible. What to do. We need an image of deep competence for a moment of peace..
ah yes – here it is – keyframing from the elder gods of keyframing. Annnd relax.
https://i.imgur.com/Tafmo0G.jpg
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**Edit – this is pretty/totally superfluous given the responses above but anyway…**
yes. That’s the short answer. As long as you have a mac made in say the last four years, preferably an i7 processor, 16 GB of ram and 1GB+ on the GPU – you’re off to the races. It will cut anything. It’s a very very responsive timeline too. Anyone here who uses both will acknowledge PPro is lot less laggy than X.
For instance if you had 5K red footage – you could cut that on any half decent mac – drop it to quarter res on the monitor so it’s 1K, premiere will debayer off the GPU, and you’re cutting red native at 1K resolution. I cut 4K GH4 avchd on a three year old (stacked) SSD laptop on location for a few weeks. Premiere ate the stuff up at 1/2 res.
It’ll take anything – david lawrence coined the phrase years ago: it’s the honey badger. You can also set it up to do ProRes passthrough encodes like FCP7 would – if that’s to your taste.
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That’s cool, but I’m pretty certain I’d still chop the bars up. You always want to be making custom length crescendos and lulls really no? I actually quite like chopping a track up. It’s still cool tho.
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[Bill Davis] “Seems to me the big win in the article is centered on X’s agile organization system and how that helped them sort and access a big, very complex array of project elements. “
but on a certain level doesn’t that make X, as is, the smaller part of the larger editing system Ubillos had in mind when he walked into the jobs meeting? It’s already stated Steve Jobs was looking at magnetic style basic elements intended for their earlier version of adobe prelude at the meeting, including the early tagging skimming stuff. At some point Ubillos should feel free to say what he saw as the editing system he had in mind out of those initial pieces. Because he definitely never got to build the editing eco-system he intended to build. Not if the Jobs meeting is true. Which it is.
FCPX is a malformed damaged child. Avid is the eternal moronic nappy emperor. And Premiere is a kind of tasty subscription hell.
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