Aindreas Gallagher
Forum Replies Created
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I think I figured what I’d do for now is just get Premiere.
I had a bit of an epiphany that I could care less about having online access to colour wheels, 20GB of storage (hello, 2009 called: it wants its headline back) and also that I probably don’t care about what adobe do to photoshop over the next three revs (didn’t really care that much about the last three, CS4 was generally horrible though) or roughly the next two revs of AE. Not that we’re getting revs anymore.
Illustrator, indesign, epiphany, Kular, that stupid pen, Flash, dreamweaver – they can all go take a jump in a well. I’ve got production premium CS6 paid on my dock – in terms of AE and PS – that’ll do me for donkeys. They are both extremely, to put it mildly, mature applications.
Half of me privately thinks adobe are tapped out updating this suite as a product to sell. photoshop is at ver14 for god’s sake.
I think they just want to sit back and lick the jar on rental fees at this point.As freelance I nearly always originate mograph stuff, or i’m just using client software. Half of London is still on CS5.5 as it is.
So the creative cloud can get stuffed, bar premiere – thats the only one I care about as live software. costs me around 8 quid a month this year, and about 14 quid a month next year. That I reckon, is what adobe get off me.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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ewww. jesus thats a little grim john. If I’m being honest I didn’t hear about it until hours after the event. Sunny bank holiday mondays don’t roll around that often.. The main thing thats annoying me is that the amount of FUD around it – and seriously, check any forum, and any comments thread on any story – are going to get in the way of premiere being the anointed son. All they had to do was sustain perpetual licenses for maybe 24 more months and they would have been gold. Its just annoying this outcome more than anything.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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well this is great, great news. Not an ounce of FUD in the air.
Oh no wait – here it comes.
https://www.youtube.com/watch?v=jeVfLOqtPR8
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “Tv is basically factual and non-factual storytelling, news and sports?”
Actually – I forgot narrative lottery systems there – Roman Colosseum Pop Idol thunder dromes.
We’re Monkeys in the end – we scream at that stuff?Hope Lotteries are audience heroin really. Bottom line – however troubled the TV construct might be – lots of it directly belongs to it.
Television is a big psychological construct – it is also a central object in your home. It has the Telephone beat there.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Bill Davis] “and things like the Share menu’s direct link to on-line deployment options.
“thread this is – I half think the point is that Television and broadcast are terms that match with Telephone and landline.
Tv is basically factual and non-factual storytelling, news and sports? those things are no more dependent on the word TV than they are pressed paper.
the point is we have TVs. The object still determines what we expect to receive. I expect the Nine O’clock news. And match of the day. Television stations exist to service televisions. It’s a pretty deep model. Society is very invested in it. We all have televisions.well bar me – i’ve been off the TV license for three years. I have a polite discussion with the BBC license fee service providers about every year or so confirming I’m not receiving live broadcast. Started as an experiment moving house and stuck. plus my only option at the moment would be to put money in rupert murdoch’s pocket, and well – no.
All that aside – with reference to the original quote up top – Bill, with the best will in the world, you really can overstate that sharing option. You sometimes describe it as an almost warp drive advance where my content is umbilically linked to the various online delivery platforms. It is, Bill, an encode shortcut. Part of me enjoys the notion you put forth that it represents the spear’s tip for a massively modular future-scape of consensual media delivery auto-updating components ala ibooks – but mate – its not.
it’s just an encode throughput. On some level I would naturally gravitate to a local encode at ProRes master to check that everything is as I think it should be – before sending out to any wide beyond.don’t get me wrong – it is cool in that it almost deliberately indicates that an encode can actually be viewed as a “publish”/ broadcast push.
I think it is a tip of the cap mindset alterer as much as anything.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Jeremy Garchow] “As Greg mentions, Pr CS Next will allow you to import parts of another project.
This means that you have to be able to have access to that project.
This, in some way, is similar to importing an FCPX XML, but with an enhanced “browse” type of feature.
“What? Jeremy – those are in no way similar scenarios. to put it mildly?
In PPro 7, I have live access to another PPro project in process, the contents update live in the media browser. I can hover scrub the footage items, grab clips or sequences, and there is also no master clip duplication when I grab the assets.
how exactly are you comparing that workflow to an XML?
that said we’ll need to see it in action, but to compare the above to a static XMl file is a pretty weird conclusion.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Greg Andonian] “Going from Premiere to AE is like switching to another mode in the same application.”
so there’s this. the FCP/AE user base, that cross pollination creative editor that lived within FCP – that is basically a pacific ocean?
They are not going to Avid, because it’s godawful coming from FCP and because there is no market pressure to do so – FCP is Rip Van Winkle.
They are not going to FCPX, because let’s be serious.
Once PPro7 hits – that’s pretty much it effectively. It’s minted software. Adobe are after carving out occam’s razor for a gigantic, gigantic number of people.How they do not get the brass ring, and run avid into the ground with anywhere – it is really hard to see. Anywhere kills interplay and sphere right?
it commoditises it?https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Jeremy Garchow] “can’t be used in more of a manner like FCPX’s Event tagging, and data aggregation and sort system.”
I’ve got an interesting rejoinder to that – a guy I know who roadtested FCPX very seriously for nearly twelve months, before his company pulled the plug had a few things to say about it.
Primarily – it dealt with group workflow. At an operational level, they found it basically unworkable. When I say this I mean he was literally gesticulating in frustration saying things like “how do you work with this?” and “the amount of files it leaves everywhere” I didn’t over press him on the point, we were in a bar, but this was a place that had a brand level interest in maintaining the relationship. They effectively gave it everything.
then they gave up, met repeatedly with adobe, and are re-architecting a 100-1000 level post facility around PPro and anywhere.
Nevermind the issues with the timeline, the one off environment outside of tracked timelines that it asks you to walk into and acclimatise to. Nevermind the point that it is on rails as an editing system funnelling editing behaviour.
nevermind all that – you’re a booster jeremy right? Or at least someone who is well involved in exploring the possibilities – do you think FCPX is a functional editing system in a group post environment? or is likely to be? And if so why?
isn’t there a reason why its sweet spot is solo editors in fast turnaround?
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[Jeremy Garchow] “Out of all the video tools I’ve used, After Effects is the one I’ve been using the longest.”
Me too. Well PS and Quark going back to college – but AE pretty much solidly for fourteen years now. FCP since version 3.
I agree with David’s point largely. A lot of people who became quite symbiotic between AE and FCP have to be pretty overwhelmingly likely to roll over that relationship to Premiere. PPro 7 is sending out massive massive come hither signs to me personally. (Like you don’t know that).
God knows I’ve said this before, but out of everyone I know in London, I am the only one who has paid for, and uses at all, FCPX. Not alone is there no natural inclination towards it, but it effectively has zero visibility.
I think there is maybe an interesting point to be made about the kind of timeline you want – if it is often a precursor to jumping in and out of AE. I want a reliable, clean tracked editing timeline mostly. Apart from anything else, FCPX is just so involved. It’s a pretty arcane space. I know it has XML and that, but it just feels too zany apart from anything else.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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I’m going to sound stupid here – and also like someone who hasn’t spent near enough time with premiere (no more than X said everyone ever) – but I went nuts watching a guys workflow with PPro – one of the things I noticed was that the marker ranges are exposed really nicely?
this thing?
https://i.imgur.com/IDbajfy.jpg
**edit pause** ok – having done a bit of reading – this is heavily tilted towards prelude – I won’t even get into the irony that FCPX tagging preflight is imploded in to the main app – which is a fab feature – but nevertheless – adobe is actually adopting randy ubillos’s actual first cut scenario that then lead to imovie and X. The marker range scenario above in the pic comes out of pre-flight analysis apparently. Adobe are asking you to concentrate the task into prelude. Which is kind of crazy to think about really, given how all this worked out.
Still – I really do like the look of it – in later assemblies, that smart marker bin seems to be actively representing ranges and notation across multiple clip sources within a single selects timeline? If so that’s pretty interesting stuff.
you’d think I would actually check any of this out.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics