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10.3.2 Is out – WOW review from a huge X facility in Europe.
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[Michael Gissing] ” So join the debate, don’t fight it.”
The day these debates stay on topic, I’m all over that.
But you can’t tell me that when I post a link about an unquestionable improvement in X – and the responses consistently have nothing to add about that specific improvement beyond “yeah, but this OTHER thing still sucks….” we can talk.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Andrew Kimery] “You both (Bill, Oliver) are a bit off the mark.”
I’ll take it!
So Premiere has been in the “movie business” since the Bandito Bros gig in 2005.
FCP X for just 5 years.
Begging the question why with a decade head start – Apple did it so much faster with X?
(Chuckling while shuffling off with my head down to avoid the lobbed rocks!)
See you all later. G’nite.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Michael Gissing] “The fact that experienced editors feel the same doesn’t surprise me. No amount of denial by people who don’t live an die daily in shared workflows alters this for me and many others in post finishing.”
I use Resolve as a media prep, consolidate, and relinker for FCPX to color grade finishing (usually to Baselight). Resolve’s problem is itself. Examining fcpxmls from Resolve shows errors and incorrectly written XMLs. Sometimes you can actually go in and fix the fcpxml, but with a lot of clips, it is extremely tedious. Also, there are certain things that work really well. Retiming is one of those, even speed ramps translate remarkably well between X and Resolve. Mixed frame sizes are sometimes a problem, though.
I had many more issues when doing the same process with Premiere. Fcpxml seems to be very robust for a new interchange language.
X2Pro on the audio side has always been really good (I use Logic to check the AAFs) and the newest update handles retiming well.
Maybe it’s because I’ve tested the crap out of it, but fcpxml has been very successful for me. It is certainly the most accurate translations I have created and much less headache than xml.
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[Jeremy Garchow]”Maybe it’s because I’ve tested the crap out of it, but fcpxml has been very successful for me. It is certainly the most accurate translations I have created and much less headache than xml.”
I’m certainly not implying that Resolve is without issues. There are things that need to improve on their side of translation for sure. I think the issue I tend to have is in fact operator error. Most experienced editors who understand how to get a project from shoot to final post are not using X in my world. So those experienced editors are presenting projects that are in much better shape and they track down and pre fix issues.
X is not significant in my world as few editors still have embraced it so the X projects I get are often from inexperienced editors who just think they can dump a whole lot of files willy nilly on a drive, cut away and make a fcpxml without worrying about decompounding etc. So it is more complex than just a matter of which xml is being translated. But Oliver’s observations match mine for whatever reason. Happy to accept that Resolve may have to take some blame as well.
Sorry to get off topic on this debate forum but it’s actually normal.
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[Bill Davis] “But you can’t tell me that when I post a link about an unquestionable improvement in X – and the responses consistently have nothing to add about that specific improvement beyond “yeah, but this OTHER thing still sucks….” we can talk.”
Kinda like how Walter mentioned PPro’s integration with Adobe Stock (as well as other libraries) and you spun that into how unfair you think Adobe’s licensing terms with photographers are? Or that it’s 2017 and you still feel the need to point out that FCPX had skimming before PPro had hover scrub (2011 vs 2012)? And when Adobe added a proxy mode to PPro last year I’m fairly confident it was met with ‘Hey, nice of Adobe to finally catch up’ type comments.
That sword swings both ways in here.
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[Bill Davis] “So Premiere has been in the “movie business” since the Bandito Bros gig in 2005.
FCP X for just 5 years.
Begging the question why with a decade head start – Apple did it so much faster with X?
(Chuckling while shuffling off with my head down to avoid the lobbed rocks!)”
Not quite sure I follow Bill. If we were to start the clock with Dust to Glory then that’s two years after PPro launched and Focus came out fours years after X launched. If we include FCP Legend in this talk then why is X, now 5.5yrs into its life cycle, so far behind in this metric compared to Legend at a similar point in its life?
If we start the clock on PPro with Gone Girl and you ask why did it take PPro so long, I think I brought up part of that already in my previous post. Was it because PPro wasn’t technically capable of handling a project like a Hollywood feature film? Was it because people just thought it was crap because they heard it was crap? Was it both?
I used one of the last versions of Premiere (not Pro) and compared to FCP it was crap. If you owned a Mac there was really no reason to choose Premiere over FCP (and the creative community is very Mac centric, as you know). This is why when Adobe launched PPro in ’03 it was Windows only. There wasn’t a big enough Mac market to make the endeavor worthwhile. It wasn’t until 2007 that the Mac version came back (and it was for Intel Macs only). I’m sure not having to make a separate PPC version just for Apple drastically lowered the cost to make it cross platform. Even then though, FCP Legend was just getting stronger and stronger and Avid was still Avid, so again, no reason at all to look at PPro.
One of the best things to happen to Premiere Pro was for Apple to yank FCP 7 from store shelves. That forced FCP users to look at other NLEs (many for the first time in a long time, if ever) and low and behold Premiere wasn’t really the hulking pile of crap FCP users thought it was.
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[Andrew Kimery] “I used one of the last versions of Premiere (not Pro) and compared to FCP it was crap”
I think you’re being too kind to Premiere in calling it “crap”!
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[Bill Davis] “Plenty of evidence in THIS precise thread that just saying anything positive about X still results in a mighty backlash about all its flaws. “
Not really a “mighty backlash” Bill, usually no worse than your backlash when someone points out a missing feature in FCPX.
There’s a lot of very interesting and positive discussion on here about FCPX from people with a whole range of workflows.
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[Bill Davis] “See you all later. G’nite.”
Hope you enjoyed “The Roast of Bill Davis” 🙂
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Aussie zombie flick Undead (2003) was edited using Premiere by the Spierig Brothers. Effects were done in AE. A thoroughly enjoyable movie.
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