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10.3.2 Is out – WOW review from a huge X facility in Europe.
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[Oliver Peters] “Your contention was that it took Premiere a long time to be ready for long-form, yet in the examples cited, “Gone Girl” and “Focus”, it was the film that was using Premiere that was in post ahead of the one using FCPX.
“Well, just to be contentious, Randy U created Premiere YEARS before he created FCP X.
So the original statement is accurate in that case.
Also Adobe did the big Premiere Pro reboot years ahead of the FCP legacy to X reboot.
So the Premiere team had way more development time there as well.
It’s only if you start BOTH teams clocks from the FCP X reboot that you could fairly argue that Premiere Pro beat FCP X into theatres.
I think that’s splitting quite a few hairs along the way.
FWIW.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “That lets me highlight each vendors clips with a click. Better than that, in the timeline index, I can sort by those subRoles and group/sort by vendor or clip ID. These small projects often take weeks to get client feedback about – so whenever I get back to it, I know that my “micro database” of image source information lives right inside my project. On “go ahead”, it’s way easier now to use the image ID info embedded in the clips to source the non watermarked finals and replace them in the projects Compound clips. Just a tiny type of convenience Roles is enabling for me as I learn new ways to use it. I just can’t fathom why I’d want to jettison these very efficient new workflows to move away from X.”
Adobe Stock is nicely integrated with the Creative Cloud applications. You can search for stock, download comps, and license final assets right from a panel in Premiere or After Effects. No mini-database or manual file management required. For example:
https://helpx.adobe.com/stock/how-to/adobe-stock-video-footage.htmlWalter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[Michael Gissing] “Just accept that some of us have perfectly reasonable things to still debate about X.”
Michael. Nobody will ever stop you from using the same workflow that you’ve been using for so long.
It just baffles me why so many of you guys are so hostile towards those of us trying to find faster and more efficient ways to do those traditional things.
Again, NOBODY is taking away your workflow.
Why are you so hostile to ours? If you can’t make a magnetic workflow do what you need – DONT USE IT. If I can, don’t tell me I shouldn’t or that I’m wrong.
Again, all I did was post a message from one professional facility manager in Europe that I know about how new FCP X update rocks for his team.
Nobody’s going to come to your shop with a baseball bat and make you cut on X. Really. If any place you ever work in the future demands that, you’ll have the same choice you’ve always had when a change comes along. Adapt or move on.
This is really not that scary or difficult.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “It just baffles me why so many of you guys are so hostile towards those of us trying to find faster and more efficient ways to do those traditional things.”
Honestly Bill it baffles me why you think I am hostile to any editors choice of NLE. I am only hostile to ill informed comments and editors telling me that their NLE software doesn’t have room for improvement. You seem hostile to the idea that things can get so much better for all NLE software and that X is without fault or issue. That’s truly perplexing.
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[Walter Soyka] “Adobe Stock is nicely integrated with the Creative Cloud applications. “
Which is wonderful if you want to source everything from that one service.
My clients tend to cast a much wider net for the right image.
Also do I recall reading that considering the Photographer does all the work to create the Intellectual Property in the form of a great image, and uploads it to Adobe Stock, Adobe keeps significantly more than 50% of the license fee?
Can that be right?
Seems kinda lopsided, but maybe I misunderstood the terms.
If so I’m sure somebody will correct me pronto.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Michael Gissing] “That’s truly perplexing”
Dude, it’s my brand around here. Has been for the past 6 years or so.
This forum started with an almost unified chorous of “Apple has massively screwed up the entire universe of editing forever.”
I was often the lone (or at least a highly prominent member of a TINY minority saying ” hold on, there’s something kinda cool going on here.”
Against a wave of voices going “it’s ALL crap. – I felt one small voice saying it’s ALL good was fair.
I learned that trying to be balanced” only works when the other point of view is equally balanced. It NEVER was. And it’s still not.
Plenty of evidence in THIS precise thread that just saying anything positive about X still results in a mighty backlash about all its flaws.
Imagine if after I posted the thread starter – the only response had been “cool, glad they made your NLE faster today.” FULL STOP.
Never going to happen here. So I feel my voice is still valuable.
????
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “Which is wonderful if you want to source everything from that one service. My clients tend to cast a much wider net for the right image. “
With Adobe’s panel architecture, there are lots of other options, too:
https://www.gettyimages.com/resources/plugins
https://www.pond5.com/adobe
https://www.shutterstock.com/blog/announcing-shutterstock-plugin-adobe-photoshopI’d think you’d find this appealing, since you never have to leave your creative application.
[Bill Davis] “Also do I recall reading that considering the Photographer does all the work to create the Intellectual Property in the form of a great image, and uploads it to Adobe Stock, Adobe keeps significantly more than 50% of the license fee? “
A quick check on the contributor FAQs shows Adobe paying 33% on photography – more than twice as much as the base 15% from one of your other suggestions, iStock. I agree both numbers seem pretty grim, but maybe the volume they provide makes that worthwhile?
Either way, the metadata-based workflow you describe is also possible in Premiere, which actually has extensive metadata capabilities, especially at the asset level like this. I think Avid could easily do this, too, but it has been quite a while now since I’ve been on an Avid.
I don’t mean to give you a hard time on this; it’s probably just not the best example for FCPX. This is a real world problem that Adobe has a great handle on. Asset-based workflows are the new file-based workflow.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[Bill Davis] “Imagine if after I posted the thread starter – the only response had been “cool, glad they made your NLE faster today.” FULL STOP.
Never going to happen here. So I feel my voice is still valuable. ”If you didn’t radiate sunshine and lollypops then play the victim every time someone rightly points out an area of improvement that you argue against, you might garner more respect. Your voice would be more valuable if your arguments were not so reactionary and one sided.
As this forum was started to specifically debate X then naturally we will debate strengths and weaknesses of X. A forum that just says “cool, glad they made your NLE faster today.” FULL STOP – is not a debate forum.
With the fact that X keeps getting better, you really should be able to look back and think just maybe some of the past criticisms you argued so personally against have been justified. But no, you continually fight the concept that others may have valid criticisms. I am universally critical of some aspects of all NLEs. I even have criticisms about my favourite Fairlight and realise there is always room to improve software. So join the debate, don’t fight it.
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Fair enough and thanks for the info, Walter.
How do they handle the asset management stuff without something like Roles in operation? How does the Adobe ecosystem manage which clips are embedded in the projects? Is it this handled by the “panels” thing?
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
You both (Bill, Oliver) are a bit off the mark.
Pro came out in 2003 and the first movie to grace the silver screen from it, AFAIK, was Dust to Glory in 2005. It was a documentary about the Baja 1000 off-road race done by Bandito Brothers (who where PPro advocates way back then). I remember reading about Dust to Gloy in Post magazine and wondering why the hell anyone would use Premiere…
Next notable release was 2010’s Monster (first film from Gareth Edwards who directed the latest Godzilla movie and Rogue One) and 2012’s Navy SEAL movie, Act of Valor (Bandio Brothers again). Gone Girl in 2014 was the first big Hollywood release. Was PPRo incapable up until it was used on Gone Girl? O was it because people who made movies generally thought that PPro was a steaming piece of crap? Was it a bit of both? Premiere as a brand has been around nearly as long as Avid yet it didn’t gain acceptance into the TV and film community (or even the higher end web community) until after FCP Legend was killed. How’s that for a left handed compliment, “Hey PPro, compared to this dead software you aren’t too bad!”
Anyway, I have no idea where this is going anymore. Happy Friday everyone!
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