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An NLE change from FCP poll results
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unless its the sabbath. stay – try the veal.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Dennis Radeke] “I would actually say that CS6 was more the release post FCP X. CS6 was shipped in early May 2012 and the release date of FCP X was June 21, 2011.
“That’s true, but personally I would judge it on this release, a two year timeframe should have given your programmers enough time to address most of the concerns of potential FCP switchers. There’s still a LOT of holdouts out there and Apple have been adding features rapidly – If FCPX 10.1 suddenly offered a track based option (for the “creative” editors) then you might have a fight on your hands!
Either way the users win!
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
[Dennis Radeke] “I would actually say that CS6 was more the release post FCP X. CS6 was shipped in early May 2012 and the release date of FCP X was June 21, 2011.
However, I hope that our next release will delight some more of you. If not, we’ll still have a friendly conversation on this and other forums. ;-)”
Six was pretty convincing, Dennis. Here’s to a lucky number 7!
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[Keith Koby] “Dude! Because I viewed those poll results, I was chosen as a possible winner for a mac book air!!!!”
Wait. I thought I was the winner??????
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[Chris Kenny] “The other thing to keep in mind about FCP X is the price/accessibility thing.”
you add in the plug-ins required to restore functionality, (and some of them have sticker shock), and that argument goes away fast.
Also, given it sits currently in the production suite – PPro is, in very many cases, free at the point of delivery.bottom line you’re right: this is going to move at a deliberative pace. God know it has so far. But the idea that the industry swing goes to a company that just burned a lot of houses, two and three times over including colour and fcp server, and then made exactly the curio one off they felt like at the time –
that is a little hard to swallow.people like to know the software vendor is not likely to go – year zero flush everything – market crazy. Adobe has never looked crazy to me.
They seem to run a tight iterative ship, and PPro is pretty well tooled. have you tried the warp stabiliser? Isn’t that ridiculous? Dropping avchd onto the timeline – on three year old hardware for the cut? The real time JKL trimming? You should really check out JKL trimming in PPro – it seems pretty well implemented to my limited understanding, and makes a complete joke of FCPX’s trimming tools.
Here’s a basic outline that outlines the methodology for you, FCP classic never got near this – rock and roll JKL was generally considered the domain of Avid really?
https://tv.adobe.com/watch/learn-premiere-pro-cs6/jkl-trimming/
Isn’t that immensely useful? – of course the skimming behaviour in X, indeed the entire timeline model itself kills this kind of functionality. But the filmstrip mode is great fun to look at, and click and drag on repeatedly. The filmstrips can be horribly slow to redraw though. Still.
Also – aren’t native curves nice? Proper keyframing tools?
Also Magic Bullet actually works in PPro. so there’s that.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Chris Kenny] “For the record, we can handle them just fine. In fact, an X-to-Resolve workflow is our standard choice for internal projects now.”
I really really really want to make a super snarky remark here, that would be funny only to certain people.
But I’ll refrain knowing full well that this is some sort of allusion;
to the land of confusion.
There’s not…much….love….to go ’round.
Now I’m singing.
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Go on Jeremy, out with it!
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
[Steve Connor] “Go on Jeremy, out with it!”
I was going to jokingly make fun of a professional outfit using air-quoted “unprofessional” tools for professional work, knowing full well the level of professionalism that is required to make such a professional endeavor a reality, and then I thought, it’s not very professional of me even though I was going to write it up with the ever present professional’s cynicism.
Or something like that.
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[Chris Kenny] “It completely depends on what kinds of projects you’re working on. For a lot of narrative work it’s pretty easy to ignore, honestly. “
Check out the opinions of the Sundance Festival’s feature film directors and editors: https://blogs.adobe.com/creativelayer/adobe-sundance-2013-recap/
A number of features at the festival were edited in Premiere Pro.
Kevin Monahan
Sr. Content and Community Lead
Adobe After Effects
Adobe Premiere Pro
Adobe Systems, Inc.
Follow Me on Twitter! -
[Aindreas Gallagher] “you add in the plug-ins required to restore functionality, (and some of them have sticker shock), and that argument goes away fast. “
It doesn’t particularly seem to me that the median user requires any plug-ins.
[Aindreas Gallagher] “Also, given it sits currently in the production suite – PPro is, in very many cases, free at the point of delivery.”
True for people who are already in the industry and already own $1500+ software packages (or already paying $50/month, I suppose). Not so much for folks just entering the field, and capturing those folks is critical for long-term success.
[Aindreas Gallagher] “Isn’t that immensely useful? – of course the skimming behaviour in X, indeed the entire timeline model itself kills this kind of functionality.
This is not quite as unambiguously better as you seem to think it is. You can achieve something not too different in FCP X’s trim tool using the ‘extend edit’ (shift-x) command, plus you also have the option of skimming the clips on both sides of the edit (and just clicking to trim). The trim tool, like that tool, can also be quickly advanced from one edit point to the next using up/down arrows.
[Aindreas Gallagher] “Also – aren’t native curves nice? Proper keyframing tools? “
FCP X just prefers keyframing on the canvas for things like transforming. I’m not sure this is ‘improper’ so much as merely different — and a lot more sensible, objectively. Why adjust one-dimmentional keyframes to control 2D movement? Or were you talking about some other issue?
If by curves you mean for color adjustment, sure, those would be nice, but FCP X has pretty decent built-in color tools, and for added bonus points primary grades automatically transfer into Resolve — it embeds CDL information in XML files. This is handy for projects where you might want to do some grading in the NLE so you can spit out decent looking rough cuts, but you plan to finish through a DI workflow and you don’t want to throw out your existing work.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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