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10 great Premiere Pro CC tips for FCP 7 refugees
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[Marcus Moore] “I wish we could get away from this “listening to editors” circular logic in reference to X.
You can’t get feedback from users to create something which doesn’t exist yet.”
That was not the case here. It has been established that Apple previewed X to some experienced editors, whose negative feedback went unheeded. Companies do user testing all the time on new products, especially new categories of products. The idea that Apple was creating something so new that they couldn’t get feedback on it is simply false. What is true is that Apple as a company doesn’t seek outside feedback as a philosophy, a philosophy which has worked for them up till now. Whether that winning streak continues, and whether X is part of that streak or marks the end of it is what this forum is all about.
[Marcus Moore] “But in refining FCPX thru 9 updates over the past 2 years, has the dev team listened to people who’ve used the software, and updated it to make it better for editors. Absolutely. Everything they’ve added back has made it a better, more professional Final Cut Pro X.”
Remember the white paper they released right after the X-bomb broke, the one that detailed the list of features that they were going to add and the timetable that went with it. While I give Kudos to Apple for keeping their promises it is obvious that they made that list without getting feedback from anyone. In other words most of the upgrades were pre-determined before they ever released X, with the release being a sort of Alpha version. Multicam, XML – none of it came from user feedback. I realize that they have responded to certain complaints, like for non-disappearing in and out points, but I think it’s fair to say that up to this point most of the upgrades have been either bug and stability fixes, or features they realized needed to be put back in before release. This is not what I think of as listening to feedback.
[Marcus Moore] “I know for a fact that I have reaped enormous rewards from FCPX in terms of my productivity and profitability. Right now the tool set encompasses my needs, but not everyones. I feel pretty confident that as the feature-set grows and deepens, the core strengths of the software will apply to more and more workflows.”
I have no argument with anything you say here. I am eagerly awaiting the next big release to see which way they intend to grow the software. I’m glad it works for you and have no doubt that it works for many. Given that it does have the best multi-cam feature on the market it would not shock me to find myself switching to it in the coming year, depending on how things progress.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
While I’d typically agree, this is only a three hour course where I have to get them from ingest to delivery. They’re actually quite eager to learn, but they are at the point now where they still aren’t sure why they have to shoot RAW instead of JPEG. They’ll get there, but it’s not like I’m going to have time to go teach them GOP structures or transcoding. Personally I’d rather this was a full course where I could ensure everyone got at least the basics of each part of post.
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FCP X Certified Pro, Level Two
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[Herb Sevush] “Native handling of all video types, sync via waveform, built in closed captioning, GPU enhanced effects, dynamic linking to AE and Photoshop”
yeah, some of the points people were making above you there were pretty funny. One saying that the ppro interface looked “square” – one thing I’ll give adobe is that their GUI conventions, and app layout customisation are second to none. Also any CC ppro suite you walk into, you just sign in, and it loads all your app specific customisations keyboard shortcuts, screen layouts – that’s quite a nice feature. Some of the implications for the lumetri engine and the LUTs being native to premiere are good too. Also premiere has a genuinely fantastic key framing system. Also the dynamic JKL trimming is very easy to get used to.
It also has a real effects architecture, as opposed to motion templates. unfortunately you have to rent it…Also – The idea that someone would defend the garish, drop shadow heavy non-customisable block interface of X because its “fun” is as odd as it ever was.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Herb Sevush] “The simple fact is that FCPX cannot create those deliverables at this point without going thru some silly third party workarounds. I would like to see your list of deliverables that Avid and PPro can’t satisfy – not processes, not tools, but actual client paid deliverables. “
OK, here you go. Both AVOID and PPro can’t “satisfy” my now required “deliverable” of a NLE that leaves your work connected to an on-line output file so I don’t have to waste endless time doing “work-arounds” in order to refresh a public copy of a newly produced video directly from the NLE – when the client suddenly discovers that they want tweaks and changes two days after they told me that the deliverable was “perfect” and exactly what they were hoping for.
Seriously, any program that can’t do anything smarter than pooping out a disconnected “master” to your desktop – so you can shuffle it over to a whole ‘nother disconnected delivery stream be that plastic disc, mylar or spinning disk – is a massive and tiresome “workaround” in my book.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Bill Davis] “Both AVOID and PPro can’t “satisfy” my now required “deliverable” of a NLE that leaves your work connected to an on-line output file so I don’t have to waste endless time doing “work-arounds” in order to refresh a public copy of a newly produced video directly from the NLE – when the client suddenly discovers that they want tweaks and changes two days after they told me that the deliverable was “perfect” and exactly what they were hoping for.”
Bill, can you walk me through how this works and what you mean by “connected to an on-line output file?”
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Bill Davis] “OK, here you go. Both AVOID and PPro can’t “satisfy” my now required “deliverable” of a NLE that leaves your work connected to an on-line output file so I don’t have to waste endless time doing “work-arounds” in order to refresh a public copy of a newly produced video directly from the NLE – when the client suddenly discovers that they want tweaks and changes two days after they told me that the deliverable was “perfect” and exactly what they were hoping for.”
You’ll notice I specified “deliverable” because that is what we get paid for. I specifically eliminated both tools and work process’s from my description, because that’s purely the editors preference, and wile you make more money the faster you work, your clients generally don’t understand or cares about your tools, only what you can deliver.
You of course have come back with a tool. The uploaded web file is the deliverable, not the one-button upload that you so love. For any non X editor no third party software beyond a browser is required to upload a file, although obviously you find the process onerous. This goes back to your statement that every NLE has something that others lack; obviously you love this something in X and if it fits your workflow I don’t blame you. But I don’t have to own and pay for another NLE to upload my files, which is what is required for exporting OMFs from X, along with third party conversion software to get X to talk to Legacy.
So lets add this up – all other NLEs lack the magic button so it costs the owner roughly two minutes of time and no money to match your one button deliverable. X lacks OMF export so it costs about $1000 in extra software, depending on FCP Legacy pricing, plus a sh*tload of time to translate to X and repair the files. Yes, a perfect equivalence.
Apple decided to ignore many conventional workflows in it’s desire to streamline it’s code. That decision is premature for many editors. No amount of hyperventilating on your part can change that simple truth. In a few years time it won’t matter, those workflows will eventually be dead, but for right now, it is what it is.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “X lacks OMF export so it costs about $1000 in extra software, depending on FCP Legacy pricing,”
Logic Pro X will soon perform this function for considerably less, it will give you AAF as well so you won’t need X2Pro.
At least it will when xml export from FCPX works correctly!
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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[Steve Connor] “Logic Pro X will soon perform this function for considerably less, it will give you AAF as well so you won’t need X2Pro.”
All right so now we’re down to $199 plus the need to learn a whole new software package just to get an OMF out. Plus there’s that other issue …
[Steve Connor] “At least it will when xml export from FCPX works correctly!”
couldn’t have said it any better myself.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “[Steve Connor] “Logic Pro X will soon perform this function for considerably less, it will give you AAF as well so you won’t need X2Pro.”
All right so now we’re down to $199 plus the need to learn a whole new software package just to get an OMF out. Plus there’s that other issue …”
I know, lot’s of learning required to find the “Import FCPXML” and “Export OMF” menu items, apparently Ripple training are going to make a series of tutorials
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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Herb, your statement “One – I was responding to an idiotic posting claiming that Avid could do what PPro does now 15 years ago, and then relating that to the superiority of X over PPro. In that context i do believe it fair to point out that X still can’t do what Avid actually could do 15 years ago, adn stil does today.”
Sorry, but that is EXACTLY the strength of X. It does not try to make compromises to keep 15 year old workflows alive. It kept some ideas of old editing tactics, but when they got into the way X clearly went conseqently down its own road. Hence it is a very efficient and slim app.
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