[Gary Huff]

[Bill Davis] “I’ve often noted that I think the Project Library and the structure of X storing all of your mounted projects in a live, scrubbable and launchable display is as important to X workflow as magnetism.

So when you boot up X, you see every single project you have ever done in it currently? I doubt most people are setting it up that way. It gets unwieldy with that many projects, plus, for those single freelancers working off of a laptop (as you like to tout as the “new way”) how are they going to be connected to so much storage necessary for that on a routine basis?

[Bill Davis] “And the Share plumbing circumventing the traditional processing of needing to create “a single disconnected master” is also evolutionary in general video editing.”

You need to explain this in explicit detail, because my initial reaction is that you don’t really know what the “Share” function does. The only thing interesting about it is that you can use it to upload to Vimeo/YouTube when it’s done exporting. It’s simply window dressing, something other NLEs should copy, but not exactly “revolutionary”. All it’s doing is exporting H.264 like normal, then using APIs to send it to the online service of your choice which it supports.

[Bill Davis] “It could also be argued that ditching Quicktime for AV Foundation was a pretty transformative part of the X puzzle.”

I doubt that. QuickTime was aging, and AV Foundation took its place to finally catch OSX’s A/V functionality up with the current decade.

[Bill Davis] “As well as how X lets you take the same timeline full of editor decisions and switch between proxy and full rez underlying clips via metadata, makes for some interesting future possibilities.”

Well, that’s nice, but not that revolutionary (you can already utilize proxy media in other NLEs with a minimum of fuss), and I don’t see much proxy use in these one-man-on-a-laptop-future-of-editing kind of “shops” that you tout as the future. The hardware is powerful enough that most of the editing in my neck of the woods is all online. Nice for RedCode, sure (as long as you have a Rocket!), but I see it having very limited usefulness for a lot of editing (though that may change as raw video grows).

However, I did a project using ProRes transcoded media and would like to re-do it so that it references the original AVCHD footage. FCPX won’t do that, according to what I’ve been told in the Techniques forum, and yet I was able to have Premiere replace the footage in a previously Cineform AVI sequence with the original H.264 QuickTimes from a DSLR. Which is more advanced and “revolutionary” now?

[Bill Davis] “It;s pretty easy to imagine cameras that shoot RAW but simultaneously auto-apply an “editors look” via background processing, allowing the editor to work with the smaller reference files at first, and only re-link to the RAW files when it’s time for finishing and grading.”

Step 1: Ingest video raw footage
Step 2: Wait for transcode
Step 3: Wait for transcode
Step 4: wait for transcode
Step 5: Start working.

[Gary Huff]

[Bill Davis] “According to him, X is so radically different that you have to jettison all your prior training in order to use it.”

Well, he is wrong. And your analogy isn’t close at all.

How can these offered views be anything but totally confusing?

I will agree they are, but here’s the difference.

FCPX’s key difference is a database for the Bin (similar to how Lightroom/Aperture will organize your photos), and the magnetic timeline, which is essentially an “always on” Ripple Delete (unless you change to the Position tool).

Everything else is simple window dressing.

[Gary Huff]

[Bill Davis] “Consistency is a cruel mistress, huh.”

I’m not sure what “consistency” has to do with comments from two different people.

And you don’t have to “forget what you know”…FCPX does the same things in a slightly different way.

[Gary Huff]

[Bill Davis] “Screw those guys on PBS and Bernstein and Tosconnini, and all the other traitors who did visual recordings of music that we all know must be seen live in order to be valid.”

That was a really nice strawman you made there. Quite a striking likeness!

[Gary Huff]

[Aindreas Gallagher] “good. sweet. jesus. find one job in LA after two years and the lot of you go bananas. Bill starts delivering multiple sermons, people are ripping their clothes off and speaking in tongues, “look to autumn, then the truth will be revealed…”

Dogs and cats living together! Mass hysteria!

[Gary Huff]

[Bill Davis] “But what if your standard is “access to satisfying entertainment at an affordable price.””

Then you have poor standards.

[Gary Huff]

Dave, there is an ExpressCard solution for USB3 that is $20 and works under Mountain Lion with no drivers necessary.

https://www.ebay.com/itm/350600627667?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1497.l2649

[Gary Huff]

Anyone use Color Assist this on a routine basis? I’m thinking about getting it (or FilmConvert), but the site’s been down for me for the last four days.

[Gary Huff]

I’m sure it’s correct. Their whole site has been on the fritz this weekend.

[Gary Huff]

I was having the same issue, and when I re-logged in, I got a message saying that an e-mail sent to the account I specified got bounced back. Had it resend the activation e-mail and all is good.