Alex 4d on the FCP X development cycle…

[Andrew Kimery]

[Bill Davis] “Oh, and I’m confused. Who’s playing the object of the White Knight scenario? Tim Cook? If EVER there was a person who seems to NOT be in distress – it’s Mr. Cook.
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FCP X also doesn’t need a White Knight…
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Yeah, that’s the whole point of White Knight Syndrome. Someone feeling the desire to come to the aid of someone else (or in this case some thing else) even if that person/thing doesn’t need saving. Apple is doing fine. X is doing fine. Yet any perceived criticism of Apple (even just a first hand recounting of Apple’s internal MO) or a feature suggestion for X is met with a big pushback as if Apple and its products are above reproach.

[Bill Davis] “Confirmation gets cut more than one bias, after all. It’s possible that a “pro” editors’ thinking can be unnecessarily constrained by their prior NLE preferences – and that they become unwilling to change due to a mixture of a deep desire for comfort and convenience – even when such a change could be personally beneficial? “

Interesting comment considering your FCP X-centric perspective.

Of course confirmation bias isn’t limited to just one thing. Mac/PC, Chevy/Ford, Sony/Microsoft/Nintendo, etc.,. Some ‘Avid’ editors rag on FCP (old and new), some old (and new) ‘FCP’ editors ragged on Avid, pretty much both Avid and FCP editors ragged on Premiere, Vegas, etc.,. Early in my editing career I used Avid, FCP and Premiere (non-Pro version) on various projects for various reasons so maybe my early exposure to variety kept the NLE-indoctrination (and confirmation bias) at bay. FCP Legend turned into my personal favorite, but it certainly wasn’t the best tool for all jobs and certainly wasn’t above reproach. I’m sure once I get around to learning X I’ll find it great for some situations and not as great for others.

[Bill Davis] “The truth is X is great for those who want to look forward. Premier is great for those who want to move forward, but simultaneously deathly afraid to leave ANY of their expertise behind. That’s my personal opinion based on the features in the latest Premier releases that I’ve ready about and has been confirmed by the responses to this thread. I asked about INNOVATIONS in the Premier Editing Approach. And there don’t really appear to be any. Which just says they believe that editing 2005 style is all the market wants or needs. “

Ah, the classic, ‘you are free to choose any NLE you want but the only right choice is X’ comment. Been a while since I’ve seen this guy. Welcome back old, buddy.

[Michael Gissing]

[Darren Roark] “In what cases does an OMF work out better than an AAF? I want to know what to look out for.”

AAF requires a license. So not all audio systems have it as a standard unlike OMF which is far more universal. Because it is long since EOL’d, most DAWs can import an OMF without issue as the format has, over time, become more robust and less likely to change with NLE software updates.

Very little of an editors SFX work is actually useful. Translating dynamic levels or EQ will rarely be accurate. EQ between systems can be markedly different. Levels also change when audio is routed through bussing and compressor/limiter dynamics are applied. Also editors are almost never monitoring properly through a 5.1 system or in a good acoustic and frankly very few editors are good sound mixers. I can see on simple fast turnaround ‘reality’ style shows there may be some time saved but on documentaries that I work on there is no advantage.

For me the additional items to translate are nearly always needing to be reset so I can control the tracklay editing & mixing better. A simple example is denoising. Levels need to be reset prior to such processing as changes in noise floor with clip gain change the noise threshold settings so clips have to be done individually instead of in a batch.

So for my license fee I usually have to take the extra step of deleting things like clip gain and dynamic levels, EQ etc. Also many plugins cannot be translated like pitch etc so for me an OMF is simpler and better.

[Michael Gissing]

[Bill Davis] “The truth is X is great for those who want to look forward. Premier is great for those who want to move forward, but simultaneously deathly afraid to leave ANY of their expertise behind. …”

[Andrew Kimerly] “Ah, the classic, ‘you are free to choose any NLE you want but the only right choice is X’ comment. Been a while since I’ve seen this guy. Welcome back old, buddy.”

Classic indeed. Although I didn’t specifically aim my original comments at anyone, it is interesting that Bill is the only one who felt the need to respond. My truth is different to yours however as X did not enable me to move forward at all and still remains the awkward one in my workflow.

Also as far as I know, Stockholm Syndrome is the result of being taken hostage, not freely volunteering or paying. But hey, pop psychology doesn’t need peer review.

[Oliver Peters]

[Bill Davis] “I asked about INNOVATIONS in the Premier Editing Approach.”

Maybe they don’t get mentioned because some of these innovations are rather old news in the Adobe world. Take for instance their use of metadata and tie-ins with Adobe Story. This has been around a few years before FCP X. The implementation might not be everyone’s cup-of-tea, but it’s innovation nonetheless.

Another under-the-hood innovation is that the UI is built upon web services. Effectively Adobe can take the entire Premiere front end and have it function as a UI for a cloud-based editing application. That’s effectively how Adobe Anywhere works, which by-the-way would be another innovation.

There’s the entire interoperability among the apps – AE/PPro, Photoshop/AE/PPro, PPro/Audition, PPro/SpeedGrade.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Darren Roark]

[Michael Gissing] “So for my license fee I usually have to take the extra step of deleting things like clip gain and dynamic levels, EQ etc. Also many plugins cannot be translated like pitch etc so for me an OMF is simpler and better.”

That makes sense. With XML there is no reason a third party couldn’t make an app that could generate one.

I quite like having the 3rd party apps deal with this stuff, if something doesn’t work right the XtoPro people and the Intelligent Assistance people are very accessible with support.

[Oliver Peters]

[Darren Roark] “I quite like having the 3rd party apps deal with this stuff, if something doesn’t work right the XtoPro people and the Intelligent Assistance people are very accessible with support.”

This is only true to a point. They are never as solid with their solutions as it would be if it were actually engineered by Apple internally. That’s because they never get the full info from Apple and are always chasing changes. It’s made worse by the fact that they have to be sandboxed, which leads to some kludgy workarounds.

Just look at all the bug fixes that come down and these are always because of something that’s cropped up because of the host application.

Automatic Duck originally came out with the first utility, which generated an OMF out of FCP X. This was promptly broken in the first few updates and then Wes Plate was picked up by Adobe. So the tool died on the vine.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Jeremy Garchow]

[Michael Gissing] “AAF requires a license. So not all audio systems have it as a standard unlike OMF which is far more universal. Because it is long since EOL’d, most DAWs can import an OMF without issue as the format has, over time, become more robust and less likely to change with NLE software updates.
“

https://www.youtube.com/watch?v=NX942zT6iLE

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[Bill Davis]

[Oliver Peters] “Automatic Duck originally came out with the first utility, which generated an OMF out of FCP X. This was promptly broken in the first few updates and then Wes Plate was picked up by Adobe. So the tool died on the vine.”

And now Wes is independent again, and busy diving deeply into X.

I know that because he’s logged into a couple of our recent live X oriented Google Hangouts to chat recently and ask X questions.

He’s coming along really fast, as you’d expect.

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.

[Oliver Peters]

[Bill Davis] “He’s coming along really fast, as you’d expect.”

Yes, I know. Wes has a lot to offer the ecosystem.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com