Bill Davis
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Just saw Noah’s link and decided to see what’s up at the WWDC this year.
Went to the splash page and started laughing.
For the Apple dev communities and the general tea leaf readers, that has to be one of the most simply awesome splash page designs I’ve ever seen.
Let the guessing games begin!
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Well, in this spirit, who’s now going to quantify the problem Oliver is seeing?
Somebody has to have a tool that measures a monitor output (in mili-NITS?) or whatever the appropriate measurement of the number of photons being emitted off the LCD screen might be.
Shouldn’t a reading off the same monitor – using the same file – gone through Premiere Pro and FCP X demonstrate a consistent variation in measurable image brightness?
Oliver expects there’s a gamma shift. And he may well be totally correct. So it shouldn’t be hard to display a test pattern with a fixed grey scale and measure some pixels at the top, middle and bottom of and report whether it’s 5%, 1% or .1%. variation between the Apple and Adobe approach.
In the test file, wouldn’t there also be a digital standard for those ACTUAL pixels? Be useful to know if the pixel is at 0 how far off zero a pixel display might actually, measurably be.
We lived for decades with Japanese NTSC black at 0ire and US black at 7.5ire and figured out how to get stuff done. Is this as big a thing? Barely noticeably bad? Inquiring minds should want to know.
Thinking about it, maybe it wasn’t such a great idea to fire all the actual engineers in all the TV stations 5-10 years ago. A few actual science-based types popping up might well be useful right about now!
; )
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[Herb Sevush] “Again I ask, if the X role out was so good why are we still having this discussion five years later when the product has matured to the point where it can hold it’s own against any other NLE out there?”
I know a guy who’s wife left him 30 years ago – and he still hasn’t gotten over it.
He’s spent the rest of his life pining for her.
He’s a perfectly rational, perfectly attractive guy with all his hair and money in the bank and a steady job (to use a silly trope) and yet he’s let THAT largely define his personal life.
At some point, you shrug and move on – or you don’t. If you don’t and end up on a web forum re-litigating the original hurt multiple years down the road (!).
Isn’t this exactly what the internet was built for?
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[Andrew Kimery] “When iMovie ’08 dropped, customers weren’t pissed because their home movie editing expertise had been devalued, they were pissed because the new version of iMovie had far few features than the existing version of iMovie (and Apple started giving the old version of iMovie away for free as a way to stem the blow back).”
Or they were’t pissed AT ALL. A subclass of those with significant video editing expertise limited EXCLUSIVELY to those with iMovie expertise were pissed.
Everyone else on the planet not.
Exactly like the FCP Legacy issue.
A hurt subset of a subset of a subset. Loud,, angry and unwilling to forgive – no matter what may change later. Join the Hatfields or the McCoys – carry the grudge – nobody else really cares? And so it goes.
[Andrew Kimery] “Adjust any one of those three things and the X launch goes a lot smoother. It wasn’t just one thing, it was the culmination of many things.
“I believe Tim’s contention has always been that making sticking with Legacy “smoother” would have been a MUCH worse call.
In that, I tend to agree with him.
I’m following a 20something young lady who does nice X tutorials in cyberspace. The idea she’d be doing that if her learning curve had been “grok Legacy or Premiere fully before you can get your ideas on the web… kinda makes me smile.
She’s succeeding clearly because she has “enjoyed” editing from day one.
Exactly as the magnetic timeline imagined. Remove friction from between the person with the ideas and being able to competently express them. For her, it’s about video creation for her peers wishing to aggregate YouTube channel subscribers. And it’s some younger person in a Dean Witter office someplace else vlogging to his clients about “sustainable investing.” or something similar. Or not.
We can all conceptualize THAT as taking your job, or see it as perhaps displacing a mailed circular pasteup artists job, or even as creating a job that was never there before.
Who knows.
And so it goes.
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[Tim Wilson] “As enthusiastic as I’ve been about X, I don’t think it’s even a little self-evident that there are NECESSARILY advantages to adapting to it, or indeed that X NECESSARILY represents new thinking. “
Odd.
I edited for 11+ years straight in Legacy before X. After X, a truly significant percentage of my thinking about the most fundamental processes of editing operations had changed. Your contention must be that I could have done all the same transitional thinking about editing processes if I was using using AVID or PPro or Vegas? I actually don’t think so. I doubt any of those would have involved me studying tagging and taxonomy the same way. Or considering new approaches to the processes of story construction as I have.
I’m kinda arguing that how X was designed was a fundamental trigger moving me away from how I used to conceptualize editing operations before X — and how I might conceptualize them differently going forward.
But that’s just me – one guy who actually took that journey and made that change.
[Tim Wilson] “For most of the editing world, ie, everyone using everything else, X represents neither disruption nor innovation. It simply doesn’t factor in.”
Well, sure, but thats like saying that the introduction of the first iPods had little to no effect on people who were in the living rooms listening to LPs. It’s accurate but kinda misses the larger point.
In that case, and in hindsight, it was a signal that EVERYTHING was changing.
As evidence, I’d note that we’ve already seen the pretty clear migration of X thinking into Premier Pro via “hover scrub” and the soon to arrive and much heralded “proxy workflow.” and to BlackMagic via Resolves “X-like” features- so there MUST have been something seminal going on in the X elevation of these ideas – or the NLE evolution wouldn’t have taken it’s recent JOG into those so obviously “X-influenced” directions.
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[Steve Connor] “I’m pretty sure that’s NOT it.”
Well, thanks so much for articulating your reasoning behind the opinion so we can all likewise evaluate your thought process.
(insert sardonic emoji here)
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[Herb Sevush] “Tim, we are going to disagree about this for eternity aren’t we. Oh well, let’s proceed.
[Tim Wilson] “People had 3 months to see what X was about”
Other than the few hundred folks in attendance at the nab event all the rest of us heard were rumors, and of all the rumors, none of us heard that Apple would be releasing a program that A) couldn’t open FCP7 files under any circumstances B) was missing a host of essential features for many workflows and C) was discontinuing all sales of FCP7 on the day of X’s release.
“I’d parse that argument as essentially this…
THIS (insert topic) is what I currently have developed expertise about.
If you devalue my EXPERTISE, you devalue me. Whatever else you do – don’t devalue my expertise, because that means that going forward, I have to complete not on what I have already learned – but what I have to learn anew, and how fast I can learn it.
THAT, IMO is what actually pissed (and is still pissing people off) about the 2011 X introduction today.
And as I have long argued, conserving knowledge about what has worked well in the past is always valid, UNLESS there there turns out to be significant new advantages to be gained by adapting to a new way of thinking.
If you want to play the traditional games as well as you can, have fun. But if you want to be relevant playing the games that evolve going forward – NOT changing is going to be the larger mistake. I’m more convinced of that today than ever.
Play out the old game. Or learn and participate in the new one.
No right answer – no wrong one.
Just the game best for you.
But it’s a hoot that 5 years on, we’re still embroiled in this and folks are still using FCP Legacy 5 years on.I just had a business acquaintance send me some FCP 7 screen caps to describe a problem he wanted help with – and it was so weird going back visually into that world. Kinda seemed like looking at my childhood photos peppered with boxy, gas-guzzling cars.
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[Craig Alan] “Bill, what would allow the cordless plug-in to send a feed to the headphone amp for the boom op. I’d guess a second receiver into the Rolls would do it.”
That seems overly complex.
My wireless boom rig is pretty straightforward.
XLR from the boom mic into the Rolls PM55p which provides phantom power via a 9V battery, (yes, the battery need to be changed on long sessions.) The Rolls is belt clip mounted to the operator and provides the headphone tap and level control. Next to it on the operators belt a XLR to 3.5 mm shorty (came with my Sennheiser AVX wireless lav system) gets the Rolls pass-through OUT to the wireless transmitter IN.
The tiny AVX receiver goes direct into the camera IN via XLR, or you can buy another AVX XLR to 3.5mm shorty to get the signal into an unbalanced mic in if that’s all your camera supports. The cam op monitors the camera sound as usual.
Obviously, the wireless link can be anything you own or can afford and feel is appropriately dependable – At $1000 or so a pair, the Sennheiser system may not fit your budget, but the idea remains the same. Let the box do the splitting and level setting for the operator – and just send ONE feed signal back to the camera.
FWIW.
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Well, except the part of the file name that ran off the screen on my phone…
That’s going to be a bit hard to understand.
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[Scott Witthaus] “Thanks Noah –
Another question. This client I am working with also does interviews of about 20 minutes long with two cameras. We will then pick out the nicest sound bite and create a 60 second commercial. If I were to sync up these two cameras into a multi-cam clip, what is the best way (or is there a way) to go through the mc clip and kword collect or ‘favorite’ the best areas? Can I do this on a mc clip like any other and still keep the ability to switch angles if needed? Thanks in advance.”
I’m not Noah but I’ll take a shot at this.
The X multicam ROCKS for this.
First, make a Multiclip with your two angles in the traditional way (assigning angles up font is ALWAYS important). If you like, you can then go into your event browser and treat the multicllp just like any other source clip – which means you can REJECT or FAVORITE parts of it to hide or reveal.
Say you rejected a bunch of stuff, when you bring these “selects” into a Storyline for use, you can call up the angle editor and literally SWITCH angles directly on your storyline as needed. You can also ROLL your edit points (T key and use the double bracket curser to move the edit point) to change the cut timing.
IMO, it’s pure joy if you have a bunch of multicam stuff and are working in FCP X.
Have fun.
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