Goodbye, Final Cut Pro 7

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So, I have a confession to make. Apple released Final Cut Pro X in June of 2011. I remember the moment well. In April 2011, the University of Chicago Film Studies Center was lucky enough to score a talk with the legendary editor and sound designer Walter Murch, and the very first question he took in the Q&A was someone who practically leapt from his chair to ask him what he thought about the new program. Murch seemed uncertain, and equivocated in his response, attempting to soften his obvious distaste for the new UI. And, in the coming months, as the software was commercially released, that distaste spread far and wide. Editors weren’t picking up Final Cut Pro X. They were teaching themselves Avid, or Adobe Premier, or announcing that Apple could pry their Final Cut Pro 7 from their cold, dead hands. And Apple did, in fact, continue supporting Final Cut Pro 7 for an unusually long time.

And I stuck with it. At first, I wasn’t editing video much in graduate school, so it made sense to just keep old software on my computer, rather than to attempt to learn a new UI. But then I started making things again. This and this and this and this were made on FCP 7. Less than 4 weeks ago, I made a video on FCP 7. I put up with countless headaches in my continued devotion to software released in 2009. I put up with agonizingly slow rendering. With severe lag that frequently made frame-by-frame viewing of clips untenable. With the program’s complete inability to deal with MPEG-4, which meant hour upon hour spent on transcoding. With the fact that the program would instantly crash to the desktop any time I tried to use some of its titling features. And with the fact that I couldn’t upgrade my main computer to High Sierra, because Apple had finally dropped support for FCP 7 on its most recent operating system.

Well, no more. I got FCP X two weeks ago, and already edited parts one and two of “Let’s Study Half-Life 2” on it. I think I’m adapting pretty well, so far. I have minor quibbles with the UI, but that’s true of any piece of software. And, seven years on since its launch, its benefits far, far outweigh any tradeoffs when it comes to replacing the now-fundamentally-broken FCP 7.

Anyway, just a small life change for me. Probably not worth sharing, but, what do you expect? This is a blog, after all. Oversharing is baked into the format.

Lewis Klahr’s Sixty Six

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Ian here—

The University of Chicago’s Film Studies Center has been having a fantastic year so far when it comes to experimental cinema. Hot on the heels (-ish) of their “Troubling the Image” series, last night they booked Lewis Klahr’s twelve-part, feature-length Sixty Six (2015), for what is I believe its Chicago debut.

Klahr was there in attendance, taking part in a very animated Q&A after the screening. I don’t think I’ve ever attended a Q&A with such an extreme questions-asked-to-time-filmmaker-talked ratio, and while some might have accused Klahr of self-indulgent rambling, I really rather enjoyed his tangents, and found that he had quite a lot of fascinating points to make about his process.

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Joana Pimenta’s An Aviation Field

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Ian here—

So I’ve done a couple dispatches now from the University of Chicago Film Studies Center’s “Troubling the Image” series. I’ve especially like the recent material that Julia Gibbs and Patrick Friel have pulled together from filmmakers and video artists around the world. As it turns out, 2016 was an especially good year for experimental cinema.

In fact, although there’s a truly embarrassing array of films I need to catch up on from 2016 (been playing too many games …), I think it’s likely the case that my favorite film from 2016 will be an experimental short: Portuguese-American filmmaker Joana Pimenta’s video An Aviation Field.

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Arash Nassiri’s Darwin Darwah

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Ian here—

Another quick reflection on something screened for the Film Studies Center’s so-far excellent “Troubling the Image” series. This time, Arash Nassiri’s video Darwin Darwah (2016), screened as part of their “Tales of Sound and Vision” night, last Friday. The screening was full of great stuff—including The Inner World of Aphasia (Edward R. Feil, 1958), which I would recommend to anyone who always wished Sam Fuller and Owen Land had made a film together—but Nassiri’s piece left me with the most coherent thoughts.

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Janie Geiser’s Flowers of the Sky

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Ian here—

Any occasion to see a new film by Janie Geiser is a happy one, but I am especially lucky in that the context in which I saw Flowers of the Sky (2016) was during the inaugural screening of “Troubling the Image,” a series of recent (or recently-restored) avant-garde/experimental films being put on at the University of Chicago’s Film Studies Center. Programmed by Julia Gibbs and Patrick Friel, the series promises to be a stream of delights, and I’m hoping to post some more dispatches from it in the future.

There was plenty of great work on display in this first screening, entitled “Color My World.” (I was especially glad to see more videos from T. Marie, whose work I had fallen behind on in recent years. 2014’s Panchromes I-III certainly did not disappoint, together forming one of the greatest examples of “cinema as painting” that I can think of.) But I’ve decided to limit my thoughts here to Geiser, and Flowers of the Sky.

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