Aindreas Gallagher
Forum Replies Created
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ersatz civil disobedience is the new western drug chris. one does scrabble for a mainline.
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no for sure – it’s about time FCPX got a moment that forced way more people to address it.
It’s just the way Larry and some other people are going about it that might annoy you – there was another guy a few weeks ago who did a whole “let me tell you about the future, why you’re wrong, and why FCPX is the future” infomercial – that was a really annoying video. because all he was really doing was selling his company’s ability to effect certain workflows with certain hardware and software – he was selling X that day. not rolling around on the floor foaming at the mouth and seeing the future –
same with Larry – what really really annoyed me was his last line where said that it was his role such that ” I really want to have you keep a job” its right at the end. it was really manipulative language, because at the close he was largely equating an inevitable future that people couldn’t accept, with an inability to see X properly.
Larry is an extremely skilled salesman who uses intonation and explosive moments to sell hard. he’s not a venerable aw-shucks uncle.
the line about him trying to help people keep their jobs really stuck in my throat – that’s not what he was doing – he was selling himself, associated products, god you could hear philip hodgetts screaming from the wings at points – and for kicks, he was completely mangling the truth of the “hundred million dollar” film.he made up that budget by collapsing mestman’s article about bulgaria, with mestman’s end statement that there actually was a film on production with X.
Flat out I don’t think Larry was confused at all. I did ask him some stuff on the blog, and he refused to accept that he was mis-using the hundred million dollar line – then he deleted the entire exchange.
that said – go X – I’m all for it, I own it, and I’ll happily shell out for 10.1 – I’m incredibly curious to see what apple decide to do with it.
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the way PPro is throwing LUTs around is pretty mad tho – to some extent PPro and speedgrade is the now the wet dream that every FCP editor had for a long time.
On steve’s thing – how is there not an avenue for X to seriously advance right now? I mean, everything is still in flux two years later, untold masses of people are still sitting on 7 – the keywording and tagging system is basically unmatched architecture, Shane ross even said that it was starting to give him pangs from an organisational standpoint – Apple pro apps have been cooking basically for more or less a year now right?
from a basic popcorn perspective, I’m beyond curious to see what they decided to do with the application two years in.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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that resolve editing timeline does look eerily familiar tho. you’d wonder if there isn’t a major industry reveal with 10.1 X.
if apple provided an answer to, say, the timeline gripes, say with audio timeline role tag lanes that allow the exact same drag and drop meta data addition as there is for clips dragged to event keywords, while meanwhile also providing next generation direct resolve CC interchange – you’d have to figure that’s game on. It really seems like the davinci guys instinctively like the apple guys. they’re basically sharing a GUI lunch.
mounds of potential popcorn from the cheap seat there.
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that aside – how’s it with you? what are you cutting with mostly?
how do you like Pr CC? Given the largely failed religious war on the other debate forum I passed up the opportunity to get CC for buttons off being a CS6 owner.
I’m possibly regretting that a tiny bit. Felt I wouldn’t be holding up my end – but adobe really seem to have their adoption numbers sussed.
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Sky is taking Pr and CC on for all internally generated brand and marketing apparently? – I was cutting Bradley Wiggins Sky cycling marketing stuff with it out there last week.
No CC yet tho – still negotiating licensing terms with adobe or something.
i’ll say one thing that I’ve started to love quite a bit – opening out a bin into hoverscrub tiles – the bin is elastic with them resizing? You can have a second monitor with multiple bins as big tiles to scrub through – that’s really nice for scrubbing for b-roll. It’s like a half way house to X.
I’m ok with the marker system too – if you get organised and do markers with durations and write little notes – the marker panel can be a really really nice thing too.
And – he said for the millionth time – the keyframing apparatus is killer – having to invoke the transform controls each time with the little icon in the keyframing section is a bit different.
Given how incredibly fast premiere is advancing – if it wasn’t stymied into CC – you’d really think it would start eating up an awful lot of market share.
I can’t believe they just went native no render round trip to speedgrade that quickly. that was insane.
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[James Ewart] ” chippy and snotty with Craig Slattery” yeah, I was a bit of a wanker there – plus you don’t see me cutting beeb docs – he got pretty high handed too tho. that was in the religious war phase mind you.
Seriously – go X – I’m all for it, it feels like nothing can touch that tagging system – besides, I’m just carping from the cheap seats. This forum was heaven sent for that.
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ha! good man. 🙂
Sure james, tell you what – next time I think Larry should really say that the film is a two hundred million dollar film, for proper impact, based on his analysis of the catering lets say, and the director, who he can’t name, is cutting the entire film, on FCPX, on his MBP.
that’ll rock the editing world to its foundations. it might be a tiny, tiny bit made up but – you know – zzzzzzzzzzz.Did you miss the part where Jordan admitted that he apparently decided on the budget number from looking at the cast list?
He came up with a very specific number.I’ll say it again – Larry got confused to the point where he was effectively making stuff up on that stage. Considering the amount of play it got, and the amount of people who were directed towards his training materials at the end of the demo, that’s kind of not on.
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no look, it really doesn’t and that’s not the point:
the point surely is that you can’t just decide to make up a budget that sounds cool when no one has told you the budget and repeat it in your presentations and stick it on your blog. tell me that’s not a little bit off.
Even on the 33 minute mark, he starts by saying that he talked to the FCPX editor for the film, and that they just started handling dallies, and that they were getting them synced and put together with philip hodgetts link software in twenty minutes, and that “the avid people had been working on it for a week and a half”.
What Avid people? I thought this was the US feature where its FCPX?
see there, larry is actually quoting from mestman’s article about the other film where FCPX is not editing it: from mestman’s article:in Sync N Link X… in one afternoon.. we got further ahead processing footage in FCP X than the entire Avid Unity department had gotten to that point in a week.
See what I mean? its pretty foggy no? he’s talking about speaking to the mystery US based FCPX editor about how fast the rushes are being processed, but he’s using examples from where mestman was just testing the ability to hypothetically do that in bulgaria , where FCPX was most definitely not editing the film.
Isn’t any of this a tiny bit, lets say, foggy?
One way or another Larry got pretty mixed up with two seperate things, to the point where when he talks about the workflow where X is in use on this other feature, he’s actually referring to workflow where it was only cutting marketing materials, it would seem?
anyhoo…
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Well, Larry made up the budget – that’s pretty much for sure. he said in reply on the blog that he decided it was a hundred million dollar film by looking at the cast list, and in amsterdam, he doesn’t equivocate – its a hundred million dollar film.
he can’t say that because no one has told him what the budget is on this other film. Sam Mestman doesn’t know what the budget is.
Larry could say one of two things:
A hundred million dollar film where FCPX is producing marketing materials to great effect.
or
An upcoming studio film, being shot in the US, being edited primarily in FCPX.
you just can’t put the two together into one super sentence, which is kind of basically what Jordan did.
boom, crystal clear, you can’t handle the truth, just one more thing, you neeed me on that wall, you ordered a code red,
and so forth.
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