Misha Aranyshev
Forum Replies Created
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[Chris Kenny] “What bugs me is that people keep saying, basically, “There’s something wrong with this app” when what they really mean is “This app doesn’t fit the editing style I’ve developed over years of using apps that work differently”.”
Oh, crap! When so many people say “this app doesn’t fit my editing style” and all those people have very different editing styles it means “there is something very wrong with the app”.
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[Chris Kenny] “Let’s say you have some interview footage. The speaker mentions some subject, and you cut away to a shot of whatever he’s talking about. That cutaway is timed to… what? To an absolute time index within the sequence? No. It’s timed to the underlying shot of the interviewee.”
Interview audio is rarely left unedited under a cutaway. Often interview audio is edited first to a rather final cut before cutaways are overwritten.
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You see, CoreData and AVFoundation are parts of the system, so they are sort of “free”. The real plan was probably to kill Pro Apps for good but someone said he can do a complete rewrite on the cheap and got a greenlight. Of course he had to use spare parts and iMove sketches to make a deadline.
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[Bret Williams] “super high end features like film cuts (which was an add on to composer anyway)”
FilmLogic was available for Adobe Premiere before FCP was out but only when paired with FCP it really became a real alternative to Avid and Lightworks for film projects
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[Andrew Richards] ”
Point taken, and support for R3D and maybe even ARRIRAW is undoubtedly coming in a dot release. Then you could be cutting with your digital negative, if you want. Is sending ProRes 4444 to grading pointless”I wouldn’t want to. No matter how beefy is your system debayering is taxing and with uncompressed raw like Arri’s it is also at least 30 TB of source footage for a feature film. I’m fine with ProRes LT with a LUT, timecode, reel, scene and burned in. You have to hand videoreference movies to other guys in the post pipeline. It’s better have all the relevant info available at a glance.
[Andrew Richards] “Is sending ProRes 4444 to grading pointless? Don’t people grade projects shot on SR?
“It depends. If it Alexa ProRes it is your “digital negative” and you didn’t do any image manipulation then sending ProRes to grading is fine. At least in original FCP there was no generation loss.
For other source formats it’s better to give a colorist all the bits there are. Native grading beats native editing.
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Because a project going to Resolve is more likely shot in R3D, ARRIRAW or film than in h.264. So you aren’t cutting your “digital negative”. Your’re cutting with “digital workprint”. Then send an EDL or XML to Resolve that matches back to the “digital negative”.
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I personally believe fun is what it is in it for Apple and never had any issue with it. Fun is why they made so many great products and why there were so many casualties along the way. I always new Apple would drop FCP as soon as it isn’t fun for them to develop it any more and was surprised it so long. I’m glad FCP was around for over a decade but always new there is going to be an Ugly Tuesday one day.
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[Paul Dickin] “a non-linear ‘story-telling’ medium”
Sure. Just like DVD.
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[Michael Aranyshev] “It ripples”
OK, that wasn’t fair. Sorry.
You’re an online editor. You have your videoreference, your EDL and a bunch of folders with DPX sequences. You load everything and start connecting. Then there is a dissolve in the EDL but not enough handles in the DPX sequences. The thing ripples.
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One I did got as far as the short list in 2010. Didn’t make it to the nomination though. And it’s foreign so it doesn’t count.