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And the lightbulb goes on…
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[Steve Connor] “You’re correct of course, but everyone in this thread has been talking about their own workflows, not other peoples and none of those workflows have been multi-user.”
Craig brought up other workflows, which got me taking about my workflows (which includes multi-user) which got Mark asking about multi-user (because that relates to his workflows too).
For people that don’t own X the only thing we can do is ask experienced X users how it fares in this scenario or that scenario to gauge if it might work for us or not.
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[Darren Roark] “I’m going to make a massive library that points to 30K+ clips and see how well it performs.
“Certainly report back how that goes as being able to hold a huge number of clips w/o slowing to a crawl is certainly one piece of the multi-user workflow I mentioned previously.
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As a non scientific test, I made a copy of my library and then duplicated the events x6 so it has about 36K clips, so far so good. I’ll have to find enough projects to have 36K different clips. That could take a while.
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[Tim Wilson] “Maybe even more fun?”
Zing! Love creating a lower third title in Motion for use inside of X which is a huge time saver. Besides it is fun, which is most important.
I really don’t miss Premiere Pro that much now. At least with X you get a great value and there is no drain my wallet every month plan to deal with. I mean subscription model. 🙂
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Wow, I didn’t realise that a simple post about the joys that I have found working with X would turn into what can only be described as a robust debate, which is brilliant.
Reading through all the posts has given me even more of an insight into other editors workflows, so thanks to everyone for the great information.
Plus, I’ve also had a good laugh at some of the posts!!!
I think regardless of anyone’s particular workflow or own post production needs, it certainly seems as though FCP X is here to stay. I think that there are too many editors who have changed over for it not to.
And why not? With another NLE in the post production environment it only encourages all the other NLE’s to up their game and give us continually improving products, so in the end, regardless of your NLE of choice, everyone will benefit.
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Working on X and then going back to Premiere, FCP7 or Avid reminds me a lot of when I was beta testing early Softimage|DS versions. DS seemed so much faster, fluid and intuitive (and fun). Going back to those older software packages felt like cutting with pointed sticks and rocks. Having done an Avid project recently (MC7.something) if felt like I had my hands tied too.
I don’t think being able to handle a 30,000+ has any great meaning to the broader visual storytelling marketplace. As a spot, promo, agency cutter it certainly holds less weight for me when choosing a software to work on. Broadcast and film are a niche that may well be best suited (right now) with Avid and Premiere and thats totally cool.
I will say that I have never seen students who have never edited before take to a software so quickly. Apple got something very very right in it’s redesign, making the process easier for a wider variety of editors (whether we like that or not).
sw
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Andrew Kimery] ” I’m talking about is a multi-editor setup (8-10 editors and a couple of AE’s) sharing media on an ISIS, using a traditional offline/online workflow (finishing is done out of house) and each project contains about 30,000-35,000 pieces of media.”
Organization of files is X’s strength. For me, the more files I have to work with the more I would want to use X
If the reports are true about Focus being done in X I’m looking forward to hearing them discuss their workflow. That should answer a lot of questions.
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[Aindreas Gallagher] “There isn’t a single bloody job in london for it. And london is heaving with editing jobs across all levels.”
I don’t know about over there but just seems like the trend is, give me the footage and I will cut it in MY suite.
If that’s the case, (and it is with many) It doesn’t matter much to that editor what’s posted on a board in London, or anywhere else.
Do you think after a major studio cuts a feature in X nobody else will follow?
It will just be that one film?
That doesn’t seem plausible to me.
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[tony west] “Organization of files is X’s strength. For me, the more files I have to work with the more I would want to use X”
I’m not worried as much about the organization as I am about the overall effectiveness of X in large, shared storage, multi-editor environments. I’d love to pick someone’s brain that’s very experienced in this type of workflow and someone that’s very experience in X to see where it excels and where it lags behind.
[tony west] “If the reports are true about Focus being done in X I’m looking forward to hearing them discuss their workflow. That should answer a lot of questions.”
Me too. I’m always interested to see how other people do things.
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[Scott Witthaus] “I don’t think being able to handle a 30,000+ has any great meaning to the broader visual storytelling marketplace. “
Who said it did? I think it’s weird that people are so fixated on that specific number like I threw down a gauntlet or something.
People were talking about why they choose they tools they do and I tossed out a situation where I think Avid is still better than X, Smoke, FCP Legend and PPro. If there are people running X in large shared storage, multi-editor environments please let me know ’cause I would love to see how they do things.
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