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9 Oscar Nominated Docs cut on Final Cut Pro
From the Twitterverse, of the 10 Oscar Nominated Documentaries (Short and Feature) 9 of them were cut on Final Cut Pro. All of the Shorts were so FCP will definitely be part of at least 1 Academy Award….
https://www.macworld.com/article/146932/2010/03/apple_final_cut.html
Congrats to all the Documentary makers, Apple and we sincerely hope we will have as successful a documentary next year as these fine folks have had. Bravo!
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” now in Post.
Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital. -
13 Replies
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Why do people care what system a project was cut on? I see Avid touting all the time “This academy award feature was cut on AVID!” And people asking all the time, “what system was this or that film cut on?”
What does it matter? It isn’t the system that made it great, it was the editor/director/producer (in that order!). All the system did was facilitate them in making it.
Do you see lighting companies going “This academy award winning film was lit with ARRI lights!” No. And I could care less if it was shot with RED too, while we are on the topic. I just want to see a good story, and if anything, want to hear from the creative people who made the film. They are the ones that matter, not the tools.
A hammer is a hammer. The carpenter is the magician!
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[Thomas Lee] “What does it matter? It isn’t the system that made it great, it was the editor/director/producer (in that order!). All the system did was facilitate them in making it.”
What matters is there is still a segment of Producers out there who have been told that Avid is the product you use for “real” projects and FCP is non-professional tool that college kids use. In particular, some Avid facilities and editors I know keep perpetuating that myth.
So the fact that Apple can tout some Oscar nominated films helps put more holes in those balloons.
Of course it’s the editor / producer / production that makes a film Oscar worthy, not the production tool. But the more “real” projects that get publicity for FCP, the weaker the Avid editor / facility arguments get…. It’s just good publicity for all of us who run FCP based shops.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” now in Post.
Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital. -
There are producers who believe that? What idiots!
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The other reason it matters is that when facilities like mine make decisions about which edit platforms to set up for grading & online we want to know where most of our work is coming from. If it was AVID, then why buy FCP and the use Automatic Duck for each job.
It also gets editors who may be stuck on AVID to at least realise that they need to be able to use more than one hammer to bang in that nail. And most importantly as Walter says, it makes producers feel comfortable about paying for someone like me to use FCS software to finish their broadcast products.
Six years ago when I decided to go with FCP and get back into grading, I chose it because FCP was then being used for over 50% of docos that I was already doing sound post on. This is the sort of information that matters to people who run the finishing facilities that support the editor/carpenters out there. So I really don’t care that you don’t care, but hey, we are there to support you getting the job finished anyway.
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[Thomas Lee] “A hammer is a hammer. The carpenter is the magician!”
The guy who makes good hammers is a magician too.
Rafael -
[Thomas Lee] “There are producers who believe that? What idiots!”
Nope, not idiots, they’ve just been conditioned to believe that. When I purchased Media 100 over Avid back in 1996 the Avid editors completely slammed that editing system as a toy. Never mind that the codec from Media 100 was twice the quality of Avid and the finished product was far superior to what was coming off an Avid at that time. In fact, to this day, I think Media 100 has the best editing codecs on the market.
But the Avid editors made it ludicrous to believe that a $20,000 software / hardware package could compete with their $100,000 software / hardware packages. It’s the same with FCP. How can a $999 package be as good as our $50,000 package? When you spend too much money on a system, you have to protect your investment.
It’s like I’ve always said. Put a lousy editor in a $1 million suite and you’ve still got a lousy editor.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” now in Post.
Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital. -
Funny, I remember a client coming to my place for an edit when I was using Media 100 and then refused to pay me my full rate because I wasn’t cutting on an Avid. Media 100 was simple to use, the codec looked great, but just didn’t do layers or plugins back then. It’s now sitting in my closet.
Warren Eig
O 310-470-0905email: warren@babyboompictures.com
website: https://www.babyboompictures.comhttps://www.babyboompictures.com/BabyBoomPictures/AFX.html
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Rafael- The guy who makes good hammers is a magician too.
Excellent point!
Jerry
MacPro 2.93 Quad
FCP7
Sony Z-1
GV-HD700 -
And the winner is “The Cove” edited on FCP. Phew – we would have had some egg on face if Burma VJ (the lone AVID doco) won.
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[Thomas Lee] “A hammer is a hammer. The carpenter is the magician!”
The great thing about all this is that the carpenter has more than one tool to choose from. The most important thing is to choose the right tool for the job. Whether that’s AVID, FCP, RED, SONY, ARRI, 35, 16, 8, VHS, whatever.
I think Walters point is that FCP seems to be the right tool for the job when it comes to Docs now days.
-Russ
Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net
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