Peter Wiggins, the power behind fcp.co * – the best independent Final Cut Pro X website and plugin makers Idustrial Revolution is the latest guest in the new ‘Lunch with Philip and Greg’ video podcast:

Peter Wiggins [38:46]: A year after Final Cut Pro X came out, I compared it to a Forumla 1 racing car. It could go very fast, but it couldn’t turn left. They invented a chassis that can go very fast. What they’ve done in the four years they’ve built the thing up so it can go really fast. Yes you can come off at the corner – there are gotchas – but compared with the other NLEs, they’ve put a turbocharger on, trying to make their old one go faster, but there’s a limit and it won’t go any faster.

* – when I first discovered this site in 2011, I was surprised that Colombia was a big enough market to host a Final Cut website. Oops.

Patent negotiation group MPEG-LA:

World licensing leader MPEG LA, LLC today announced a call for patents essential to the MPEG Dynamic Adaptive Streaming over HTTP (DASH) standards for the purpose of offering the market efficient access to this important technology. Currently used in leading content delivery platforms, DASH adaptively streams audio and video content enabling continuous viewing without freezing or stuttering.

[…] MPEG LA President and CEO Larry Horn. “We invite all patent holders to participate.”

Jan Ozer:

How many companies considering the transition from Flash to HTML5 incorporated DASH-related content-royalties into their budgets? How many questioned whether or not DASH would be supported by every current browser? Though it is today, the specter of royalties could change that quickly.

The timing of this story didn’t allow for any industry reaction, but it’s going to be fascinating to watch over the next few days and weeks. At the least, it’s a minor speed bump in the Flash to HTML5 transition, but for some, it might also become a brick wall.

From a scientific paper: “Event segmentation and seven types of narrative discontinuity in popular movies” by James E. Cutting:

These results suggest that there are at least four different signatures of narrative shifts to be found in popular movies — general patterns across time, patterns of historical change, genre-specific patterns, and film-specific patterns.

[…]

…the structure of popular movies, and the changes in that structure over the last 80 years, are fit to perceptual and cognitive processes that allow movies to be faster paced but still easy to understand. Moreover, we know that in real life and in movies this segmentation process is an aid to memory and comprehension. Thus, understanding the reasons for why and how viewers segment movies into events brings us closer to understanding why we find them such a powerful component of contemporary visual culture.

Once a system is analysed, others will attempt to encode this analysis into algorithms.

And I thought editors would never be disintermediated…

Judith Allen found this.

Triller is a music video app:

…the app will then automatically edit your takes together using an algorithm that’s designed to emulate how a professional editor would cut a music video. Triller looks at the action in your footage, how much the camera itself is moving, and how many faces are detected in each shot to make its editorial decisions. It then cuts everything into tiny clips that are perfectly synced with the song you’ve chosen.

Before Blackmagic Design bought da Vinci Systems in 2009, they had years of hardware and software product history.

Thanks to the Internet Archive, their website from 10 years ago is still preserved.

Included in the archive is a PDF leaflet:

From the genius of da Vinci comes Resolve®, the company’s first software-based color correction system

Note however:

Resolve, 2K and 2K Plus are registered trademarks of da Vinci Systems, Inc.

The Onion, 2006:

Lessner, who said he started the weekend session laughing at the abundance of “blooper gold,” soon lost all perspective when faced with the task of condensing the more than 86 hours of footage—most of which was “almost indistinguishably hilarious”—into a single 26-minute special by his strict Sunday deadline.