Chris Harlan
Forum Replies Created
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[Aindreas Gallagher] “so is the short answer that we won’t know the fate of the Mac Pro until the Xeons come out right? “
I guess that’s true. I thought we knew with Sandy Bridge, but this Ivy Bridge release is so close on the heels, that there might be a bit of hope. Of course, the rumors today of the eol for the 17″ Macbook Pro don’t help:
https://www.macrumors.com/2012/04/23/apple-predicted-to-discontinue-17-inch-macbook-pro/
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[Devin Crane] “Mac Pro is not going away, just getting revamped with a smaller footprint and Thunderbolt. Waiting for IVY Bridge to be released at the end of the month for desktops.
“Are you speaking from knowledge or faith?
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[Bill Davis] “But I will also point out that if this was a rollout for Apple – there would be countless loud voices here speculating (unfairly I might add) that the fact that they couldn’t do this in time for NAB is a clear sign that the entire development effort is understaffed, underfunded, and a sure sign of the ineptness of everything the dev team stands for. Hundreds of post would follow trying to to parse out what caused the “delay” – why this important software wan’t totally finished and ready for prime time for a formal roll-out at NAB. “
Bill, that’s just crazy talk. Most of the people here were solid Apple supporters before the release of X and have/had been solid, patient FCP supporters through all types of release/upgrade mishaps, for many years. And, I think you know that.
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[David Roth Weiss] “[Chris Kenny] “Adobe and Avid NLE products are presently packaged, priced and implemented in a way that makes them impossible to sell either though the Mac App Store or Microsoft’s forthcoming Metro app store.”
Sorry Chris, but you’re info is not up to date, at least per Adobe. If I sell you Production Premium today, I have the option of selling you the retail package or the download from Adobe. So, whatever benefit you just gave to X in that regard no longer applies.”
And Amazon.
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[David Roth Weiss] ” I am at liberty to divulge that there is presently a fairly well-publicized Abobe promotion, which entitles anyone to a free CS6 upgrade if you buy, udate, or crossgrade to CS5.5 through Sunday, May 6th. “
Yup, I done did it.
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That was fun! That’s also my assessment about Apple and workstations. Of course, in that case you might need to ask who is becoming the Borg, what with thin client-en masse. In half a century the brain of the world living in their data centers. We are just its tendrils.
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[Jeremy Garchow] “FCP was not flexible, it was Mac only, and you needed to be immensely tied to quicktime which made sense when everything was on tape, but outside of that and in this digital age? FCP7 is not very flexible.”
I guess its how you define flexible. By your definition nothing was flexible. The few NLEs that weren’t confined to a single operating system were confined to proprietary hardware. And, if it wasn’t tied to Quicktime, that simply meant that it was tied to AVIs.
For the record, and from an editorial point of view, FCP 2-7 was one of the most flexible NLEs I had ever seen, and that IS why I eventually chose it over many other now forgotten rivals. It could approach any given editorial question from so many different directions that its flexibility often amazed me. At that point, I had worked on so many different NLEs with so many truly different metaphors–each with their strengths and weaknesses–that finding one that embraced most of the strengths was astounding. I could treat timelines like bins, have multiple timelines open and operating on different monitors, could cut and paste, drag and drop, insert and over right, slide clips around, lasso chunks. It had great compositing features and unlimited video tracks. You could make transitions on the same track or you could build them in a stack. It just goes on and on.
And, it wasn’t the only relatively cheep NLE out there. There were many. People forget this. Or just aren’t old enough to remember it. So, for the record–I chose (and changed platforms for) FCP BECAUSE of its extreme flexibility. That was my number one reason for choosing it.
[Jeremy Garchow] “[Walter Soyka] “I was saying that a director of photography chooses a specific camera or lens for what it will contribute to the project or even the shot at hand.”
It’s a different model, and that was my point. You can’t rent NLE’s”
Of course you can.
[Jeremy Garchow] “My point is, I have heard over and over to throw it in the tool box. I won’t be buying everything, I will make a decision, just as Mark has. I just happen to be one of the ones who hasn’t moved on quite yet as the answer is not that obvious.
“I can’t afford that luxury, though it is always tempting to try. I think of it more like a good musician does. Through the course of my career I find myself able to play a whole variety of instruments, learning and enjoying them as I go, but I’ll only be a virtuoso on one or two.
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[Shane Ross] “I don’t recall being polled by anyone about what NLE I use, so where do they get the market share numbers?
“I don’t know how accurate their numbers are, but their abstract catches the mood pretty well:
“Nonlinear editing systems (NLEs) will continue to grow over the next three years, in spite of major technological changes that have left many high-end editors bereft, frustrated and storming out of the edit suite. A technologically intensive, changing business model has made nonlinear editing a challenge to both manufacturers and producers, with improvements and re-branding by Apple leaving some seasoned editors profoundly disgusted.”
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Well, a very happy Birthday to your son.
Hitler can still rot in Hell. -
[Jules bowman] “Indeed, but there have been some corkers. The FCPX one made me laugh a lot, as did the Michael Jackson one, if I recall correctly.
“What’s funny is that within a week of FCP X’s release there were like 3 different Hitler bits, so I’ve always thought of the FCP X debacle as a 3 Hitler Event, or rather a 3 on the Hitler scale.