Bill Davis
Forum Replies Created
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A to F …
Looks like A was introduced about 20 years ago. Innovative!
B) Frame.io is a smarter bet and doesn’t hold your work hostage.
C) call me when these panels begin to do things everyone else hasn’t already been doing for years and years.
D) At least a decade behind Mocha which is licensed everywhere including for X for years already.
E) Relinking? An issue largely during these transition from local to global storage modes. Likely the first casualty of all these coming changes.
F) Call SmartSound. They want their 1990s tech back.Still having trouble seeing much actual “innovation” in a list like that.
It’s mostly all stuff that’s been around for decades.
Lots of fine ideas, don’t get me wrong. They’re just OLD good ideas and nothing moving any bars very far IMO..
Actual innovation takes PERMISSION to innovate. But I still have trouble seeing the public facing part of said innovation in a company that seem focused on asking for what kind of painting the mass audience wants – before they set up the easel.
IMO, that’s likely to get you a lot more Thomas Kincade – and not very much Picasso.
Oh well.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Mark Raudonis] “Look down the index and see Marco’s review of Fairlight audio mixing suite. This is starting to turn heads and raise eyebrows. I’m just saying. Y’all better start framing the FCP debate as a FOUR WAY horse race: FCP, PPRO, AVID, and now Resolve.”
Five way really. Google.
As those kiddies in kindergarten through 4th grade that are now all awash in cheap Chromebooks and SCHOOL ACCOUNTS grow up, and arrive in high school, college and the workforce, they’ll have a data trail of one to two decades locked away in the Google servers. All their photos, communications, tests, grades, friend lists, math, programming, and yes, CREATIVE tools.
Wanna bet somewhere along the way Google doesn’t decide to build a killer cloud based video editing App? One plumbed precisely to leverage the ever expanding Google data cloud?
Apple, Adobe, BlackMagic, AVID and everyone else may look in the rear view mirror and find that ALL of editing has simply “followed the data” – and that by then they won’t have a need for ANY of this stuff in order to effectively leverage digital communications at ANY level.
We were discussing “red herrings” in another thread.
Has isolating “editing” as a thing still separate from “data manipulation” put blinders on us? Are ANY of these current tools going to remain relevant for very long?
We’re still steeped in a concern for sequencing. Sequencing is rapidly becoming trivial, isn’t it? Data access is blowing by it, IMO. Our choices are less and less about HOW we touch our digital data, it’s more about who controls our gateways to it.
Freaked me out recently when I started posting my XinTwo Frame.io videos into Vimeo Pro to serve our website customer base. What lit up my brain is that posting from Frame to Vimeo is virtually INSTANTANEOUS. I realized that the only way that’s possible is because both services were using the same server farms. Posting one to the other was just adding new pointers to the same content.
And I realized that the tools aren’t going to really matter all that much in the future. What WILL matter is which company you choose to co-control your data. Cuz that’s what happening. We’re picking the companies to trust with our data. And that’s about ALL thats going to distinguish them in the future.
So far, the way Apple has structured this fits my view best. BlackMagic might be just as good, but I’m troubled that they they are still relying on fashioned linear timelines as the driver to signing up new customers. I’ll sacrifice safety on a bet on real innovation, every day, as everyone here already knows.
Grab your popcorn, going to be amazing watching these global changes coming.
My 2 cents.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Don’t sweat it my friend.
You came to say:
Bill’s wrong about this view, and this view, and this view.That is EXACTLY what debate is supposed to be.
I welcome that.
I get to respond to your contentions by saying “l don’t think I am wrong, and here’s why…”
And the debate progresses.
And sorry but, in my view one legitimate part of the debate about editorial speed can easily include the motives behind the major vendors actions, which is why that part of my post about the financial model is arguably NOT a red herring at all. It specifically addresses why Adobe appears to be so disinterested in serious product workflow innovation that could provide more editorial speed to their customers – at least compared to where they laser focused their sights – which was streamlining their cash flow.
They are playing directly to the part of the market that is significantly more comfortable in the editing landscape of the turn of the century / than the landscape that might be evolving for the future. (There, THAT should light enough hair on fire to bring more players to the debate)
From my view, it’s hard to see any another reason for their primary focus in ONLY allowing access to the editing tool via CC. Could they not allow a persistent “bread crumb” version of the program that doesn’t always need to “phone home” to see if they need to turn your access off or give an editor legacy access to their own work? Of course they could. But they don’t. So what are we left to think? The early alt narrative was subscription was “so we can deploy features more rapidly.” But could THAT be the actual red herring here? Apple is similarly delivering quarterly updates (on average) while apparently having no trouble introducing significant new workflow efficiency features (arguably much deeper and more transformative for the user experience) than those coming to Premiere.
Actually, probably this ALL might be a massive RED HERRING exercise.
While we’re all wasting our time here, Google is quietly investing MASSIVELY on pushing a monster sized loyalty lock-in into kindergardens through 4th grade across the whole country. In the guise of “automating the classroom” for teacher efficiency, they’ve brilliantly set kids up with personal accounts that hold all their communications and schoolwork interactions – and set those accounts to follow the student for life, migrating across schools and even states.
When those kids hit their teens, you want to bet Google doesn’t have a series of cloud video editing/sharing apps just waiting for them?
Why waste time learning ANY new OS or App when you’ve already been using one since you were 6 years old?
Cheap Chromebook and your “private” cloud.
Our whole little game may already be rearranging virtual deck chairs on the Titanic.
And we just don’t see it yet.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Of course it doesn’t effect your “ability” to tell a story.
He didn’t say, however, it might not effect your efficiency.
????
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
OK then, Oliver.
I guess your point is that I must somehow be too inexperienced or ill-equipped to judge this stuff, properly.
Which is certainly possible.
But it’s also a bit odd that for quite a long time I was a rare voice saying three things consistently.
A) The value of X was being widely misunderstood.
B) it was MUCH more capable at professional editing than the “iMovie Pro” branders were noticing.
And that
C) I was able to get more work done, more efficiently, with less struggle and more ease than before I adopted it.Regarding C), I will say I always pointed to SPECIFIC features of X that had caused me to form those opinions.
From the vantage point of today, it seems to me that in each of those three areas, time has not diminished, but strengthened the case for my opinions.
And I suppose the fact that there are now so many other working editors* successfully using X at all levels of editing, all around the world, just means there are quite a few others willing to fork over their CASH like me, who must be deluded in exactly the same way I must be.
So at least I have LOTS of company?
On reflection, I’m OK with that.
I simply see X as trying to move things forward.
And (just to support my “provocative” mini-brand) it’s competitors as largely too scared to rock anyone’s boat overly much.
How else do I decode that over 20 YEARS they have elected to keep things VERY comfortable and safe. I keep asking here and elsewhere for people championing the other big NLEs to point out any significant innovations in approach from their pre-2000 NLE Toolsets. I get mostly silence. It’s possible that the NLE designs of the 1980s and 1990s were just so PERFECT that there’s no room for much improvement. But I reject that. Loudly.
They’ve also innovated MASSIVELY in the PAYMENT space, (right?) subscription, subscription and free? – so why not in tool design? Is it largely because they see the financial space as WAY more important and wildly more deserving of creative effort than their actual creative tools?
You tell me.
Enough internet spouting off, even for the Debate space.
I’ll put the internet beer bottle protection net in place for the night and close the phone now.
(Does feels like old times a bit – somebody wake Aindreas and see if he wants to come out and play. Nostalgia rocks.
Take care.
* why else fork over $300 of your earnings for a digital tool unless you feel it has SUPERIOR earnings potential through efficiency? Right?
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Good examples, Charlie.
On each of these, it’s likely the original designer (probably someone in-house at Apple?) would have published access to a set of user-facing attributes. Maybe element colors, font and type treatments, layer, positioning , and transition or movement info, etc.
In the X system, this lets you do useful customization without needing to ever launch Motion.
Take the mostly white title sequence in Charlie’s group. It’s very “neutral” overall.
Check your clients type specs – and maybe all you need to do is quickly match those – and you have a perfectly serviceable communications piece opener in under a minute.Tons of highly profitable, if minor scope, gigs don’t really demand anything more than that.
For those that do, Motion (honestly really amazing for a one time $49!) lets you go farther or totally custom if you like. Yes, if you are a longtime AE Ninja, you’ll likely want features Motion does not yet have. But the open question is how many editors (very much like me) would prefer NOT to be forced to learn another entire application and it’s attendant skill set just to get decent titles incorporated in our work.
The better question might be if the strengths and differences between the two systems would functionally affect what each unique editor can successfully deliver to achieve increased client satisfaction.
For me that’s the only “holy grail” of any of this stuff.
And each editor has to answer that for themselves.
Along with maybe …
do I need an art director?
can I afford a good one?
can I do without one?– and the scariest question of all,
Am I currently fooling myself into thinking I AM one?
; )
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
In an EXTREMELY minor way. (from watching a brief advanced TEASER screening at NAB.)
(Plus editing is on-going – so ending up on the cutting room floor is probably still a very distinct possibility.)The fascinating thing to me was how really good the footage looks. Bradley was shooting with a simple BlackMagic production camera (at least for the interviews I was around at the Creative Summit last fall) and even projected very large, the footage looked REALLY good.
The production industry certainly has evolved massively regarding access to tools since the days back when I had to ship in Mitchell cameras from LA to Phoenix just to shoot my early commercials.
Amazing really.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
I’d also suggest that if the state of the expected raw materials of a film today, always mimicked the state of the raw materials that were expected when the films being discussed were being assembled, I’d have a bit more attraction for the (…lest you miss that unique trigger moment of creativity) idea.
I can easily see the potential magic it can hold.
But there’s also the reality of today’s shooting style.
Hanging strips of celluloid above the Steenbeck is charming when the edit bay is 10×10 or even 20×20. Not sure it’s as charming when you need a room 1000′ x 1000′ square – just to hold all the clips.
And that’s increasingly the rule now. More cameras, more coverage, more options. Logrhytemically more, sometimes.
So do you restrict coverage to allow the editor to bathe in the raw materials deeper and longer? Or do you seek systems that impose a bit more order onto the increasing chaos?
If you “pre-winnow” successfully, does that return more time to steep your brain in what’s left?
Big questions. No simple answers.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
So, do I understand this correctly?
in the left upper window we see a quick scan view of the starter content in the new “mini-platform” recently added to Premiere Pro for the purpose of giving editors quick access to graphic and text constructions available for use in their timelines. Is that the basics of this? Or am I missing something?
And in the lower right window we’re seeing basically the same thing for FCP X?
Most of the content I’m seeing on the X side was delivered with the feature when it was introduced in 2011. And really just Motion “idea starters” that the X editor can access and adapt further.
Is the Premiere system similar? Are these basically “starter designs” that the user is expected to re-work or even generate in AE – and this is just largely just the “holding pen” for that work?
I ask, because I’ve been quite suprised at just how much basic graphics work I seem to get done in JUST the part of Motion that Apple “co-located” inside X. I’m constantly building useful text and graphics directly inside X – without leaving the core editorial space at all.
Is this the Adobe bid to adopt a bit of the same approach?
Or am I not seeing something distinctive happening here that goes beyond that?
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Walter Soyka] “I’m all about iteration and reducing friction, but did you see this post a week or two from Franz about how activities that look like massive time-wasters may actually encourage ideation?”
I’ve never had a problem with something to “encourage ideation.”
Not to say I haven’t experienced that.
I’ve seen shows and visited museums and found those actions triggering all sorts of “creative ideation” – however, I’ve also sat in boring airport lounges and sat at my desk looking at precisely the same thing I’ve seen for 1,000 prior hours and had creative ideas pop up.
If someone else needs or wants a particular trigger for their creativity – even if it’s watching a render bar crawl across the screen – they should go for it.
I do not.
Moreover, I find that the excitement of losing annoyances like having to fix problems I’d once associated with tracked timelines makes me happy. And being happier is it’s own reward.
Just me, of course. I’m sure there are plenty of others who feel much more creative when they are struggling or miserable. I can only wish them well.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.