[Aindreas Gallagher]

[Bill Davis] “And explains his reasoning about WHY fundamental industry changes require some new thinkin – including the painful jettisoning of much comfortable thinking that worked just fine in the past.”

But – does he actually do that Bill? I know he said that there was an issue with people unable to accept change, but then he just showed a camera loads of people have heard of, 4k transport in stuff, the movi, bits of his music video, and FCPX. They are all good things. How does that amount to a thesis?

And where did he outline these failures in attitude? what was he talking about there? Not using the c500? not hiring the movi? because everyone I know is planning on hiring that thing the instant it is available. So say I cut and did post on this music vid (trust me there is a point, and that point is that I wanted to show off the video):
https://www.youtube.com/watch?feature=player_embedded&v=BRCG6nvFkUA

everyone go buy Goldheart Assembly’s new album btw. Its great.

Do you think the director, who was also the shooter, would not have used the movi if it was available? He literally screamed the minute I showed him the movi video when it came out, and then started manically texting all his mates. At 15,000 purchase, day hire is going to be buttons on that thing.

Me and him put that video together for no money, it was entirely file based, and all the optics used were off neumann films that cost me 30 quid.

Anyone working right now, is using every single tool available that they can get their hands that they can afford. that video could afford one day borrowed greenscreen, some front projection, (which is murder to greenscreen, thank you keylight) his 5Dmk2, london snow, and me throwing jam at it for three days. Still, I did get to drop it off at abbey road for conforming. I took photos. I really did. And.. we failed the harding test.
the point is that there is less money than ever, none for music vids usually, and no one is ignorant of a single thing that can give them any edge.
4K proof of concept music videos with massive crews and ipad set review of footage are uncommon.

Its basically a bit much on his part to state that people don’t get the current environment because they don’t use a specific camera, or a specific editing system. It’s hard to see how his argument amounted to more than that.

[Bill Davis] “IMO is that FCP-X was built for robust pre-pro and asset management FIRST – with practical modern editing a close second. And that’s exactly what’s got so many “editors” upset. Apple didn’t properly do their obeisance to the alter of the timeline functions over all else.”

ok – that is completely and in-arguably correct – and to be honest, I have serious, deep, increasing pangs for X’s system of tagging. I think a lot of people are starting to stare at that tagging metadata system. It’ll be really really interesting to see what the next release of X looks like. Particularly after the adobe crazy.

bottom line, I found the piece OTT – loads of us will wring anything we can out of the gear at hand. Editing software preference doesn’t represent a luddite lemming instinct.

A lot of X is completely killer, (you should really check out some of premiere lately tho Bill, its getting so good incredibly fast – *turns and sheds a single tear*)
X is going to be, and is a completely successful editing system – it deserves to be, but not picking it doesn’t amount to fear of the future brain damage eh? 🙂

in closing – if everyone could go to the creative cloud debate forum and gin up the posts about why X is going to eat premiere for breakfast because of the subscription carry on – that would be great. Bill just popped in a beauty, but the more the merrier.

https://www.adobe2014.tumblr.com

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

[Aindreas Gallagher]

[Oliver Peters] “his investment has been in Quantel “heavy iron” to get the job done 😉 That’s for conforming and grading of feature films.”

which brings me neatly to the ‘what the hell do I know’ part – he is a country mile out of my league – the last thing I invested in was a second hand monitor.
I just thought the piece was overdone with the portentousness of an industry unable to face the future because they weren’t picking the right gear, or embracing X.

I just thought it was motivational futurist speaker overdone – and masked the fact that it was kind of basically selling gear workflow knowhow.

it was all that initial ‘in the year 2025, 2025, if we are are still alive – will we all look back in shame at our lack of foresight’… and then it cut to him showing some gear, gear that a lot of people have heard of, and arguing for X as system citing things like plugins, which I think can be argued to be a pretty spotty argument?

that said I’m basically just carping from the cheap seats.

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

[Aindreas Gallagher]

that was pretty funny – he intros it like he’s about to give a ted talk, but basically that’s an infomercial for their services.

Who hasn’t heard about movi? or the c500? He’s like, get ready, I’m about to blow your mind, then he lists off some good expensive gear that everyone has heard about, on a video for an artist I have to admit I hadn’t heard of..

Also – I think everyone gets that X plays a really good game as keyword manager yada yada, but I’m really surprised he pushed that much post through it. the keyframing is atrocious, and as for it being plugin extensible, depending on what you’re talking about, thats not really true. The effects architecture is crazily limited. the fact that you can’t get a custom gui on screen even – what was that full on colour correction plugin that came out a while back – and then halfway through the sales video you realised that their GUI affected their own CC waveforms – what was that one? – because that was hilarious. there was a setting that almost totally turned the effect controls off so you could read the waveform monitors accurately? X has some ludicrous shortcomings in its effects architecture.

Also, the way he talked about the plug-in community, you’d swear no one was making plug-ins for any other system? Adobe is drowning in plug-ins, broadly speaking. And they’ve got an integrated market thing directly within premiere itself for footage (you can browse and download pond 5 stuff directly within your PPro project) and plugins now in CC – haven’t used it mind you.

Aaanyway – that did basically sound like a guy desperately keen to be seen as a super duper revelations smart svengali for the future.
I got the strong sensation of smoke hitting my rear end.

I didn’t totally buy it tbh. I think he’s just another guy on the doorstep selling something.

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

[Aindreas Gallagher]

Leo Laporte put forward the idea that apple might bundle the pro apps with the mac pro as a surprise announcement

iOS gets iWork
OSX gets iLife
the new MacPro gets all that plus the Pro Apps, so that’s FCPX, Motion, Compressor, Aperture and Logic Pro? That’s about what, 700 dollars worth of apps?

Drop in the ocean of the Mac Pro sticker price probably, but it would be a nice gesture, and they can say “ready to edit and post your next 4K feature out of the box, your own post production studio blah blah..”

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

[Aindreas Gallagher]

if PPro7 was purchase, at its current rate of advancement, including the heavy iron anywhere, it would slaughter the market.

Literally any kind of 4-5yr payout subscription software archive option that the CS market could understand. Anything.

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

[Aindreas Gallagher]

[Jeremy Garchow] “You will stack them on top of your Jaz drives.
“

Surely you mean Bernoulli discs – I have two of them, buried in a box, holding the last print issue of the Czech Business Journal.
We couldn’t have done it without connectix ram doubler mind you.

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

[Aindreas Gallagher]

apple were never going to do this unless they were making a form of statement – both on their behalf and to wider world. You might want expansion, but I would say that empty air was the first thing wiped off the board.

Realistically – they are on some level doing this from emotion – they have committed what are obviously quite serious engineering resources over a sustained period of time to address a market that doesn’t make the width of a line of thread on the profit pie chart.

Its the ludicrous star trek enterprise ambition and construction of the thing that I adore – if you check Se2 ep3 that is actually Data’s computer on the desk.
(no it’s not) –
you might not like the thing, but I find I instinctively love it, and I know of exactly one company that would try it.

No one could realistically ask apple to do anything else but intellectually exercise themselves with this thing – its not a realistic profit driver at scale. The engineers would have to be intrinsically and deeply into really jamming with it as a basic exercise. You could argue the same thing for X in a way. I have personal issues with the liberties they took there with external understandings of editing practise – but as for the mac pro, I basically adore the thing sight unseen.
there hasn’t been theatre the like of that thing in a PC in human eons.
It makes a good cinema ad for god’s sake.

I find I half love apple for the way they went about it. Also lets face it – broadly speaking, some of the attributes read insane.

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

[Aindreas Gallagher]

[Charlie Austin] “lol… X does do some interesting things, which can be very disconcerting if you don’t expect it. Like dragging an I or O point on a connected clip, and clips all over the timeline move out of the way in preparation… even if you’re not extending the clip into their space. Release the edit point, and they all drop back into place. 🙂 However, my favorite undocumented “feature” (next to the secret ~ lock combo) is with clip skimming…

When skimming a clip, if you use the arrow keys (or a scroll wheel mapped to L/R arrow) skim to the end of the clip in the timeline… you can keep skimming past the end into the next clip (or into empty space). Try it! 🙂
“

sure mate – it’s an alladin’s cave – I love great parts of it – the fundamental thing that we are all dancing around is whether apple were intellectually bothered to describe a package that could get a basic hold of editing as a discipline. As it currently stood.

I’m not sure that they were. FCPX feels like wilfully exclusionary methodology.

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

[Aindreas Gallagher]

[Tony Corapi] “I think some of the frustration for me at times working in the timeline is how connected clips behave vertically. I think it’s basically because the Primary storyline does not also move vertically ( up or down) so acts like a wall if you will. Above the Primary (usually reserved for the video but not always) clips always jump up out of the way because the the Primary is locked and they don’t have any other direction to go.So if if you have 2 connected clips A and B, if you want to extend the end point of clip A, clip B jumps up vertically in exact opposite direction I want it to go because now I have to move it right or edit the in point of B back to see the new end point of A. If I want to take the in point of B and drag it left A jumps up out of the way when I would rather have it jump down out of the way. Ironically if I put those clips below the Primary (normally where the audio goes) they behave the way I normally would expect their behavior. I think it would be helpful if you could use a modifier key let’s say holding the up or down arrow as your extending a connected clip to have the clips move out of your way in the direction you want.
“

for kicks – reading through that again (its really worth trying it) while attempting to put yourself in the space of any completely unaware, trained editor in 2010 is an interesting gag. If you really try it, its quite a read.
I still think the distance apple chose to travel with all of the basic logic and terminology of the timeline is an adoption impediment.
I’m not saying there’s anything wrong with the conclusions apple drew – its working for way, way, way too many people – but the degree to which people can now casually describe the multitude of live software editing reactions to any editor’s action in the X timeline is weirdly interesting. It’s awfully new.

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

[Aindreas Gallagher]

the way it handles image sequences is stunning – I got a cinematic game trailer rendered out of nuke as sequential 8MB per frame TIFFs and it played back like it was a MOV. I was genuinely shocked.

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