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And the lightbulb goes on…
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[Quintus Lubbe] “Having edited in Legacy and Premiere Pro, I can vouch for the fact that it is faster.”
So how fast is it when you come to a section that needs to go to Motion (or AE)for some work? I haven’t worked with an NLE that doesn’t have a connected Compositor in almost 15 years. So what’s your workflow there – create an XML of that section of the timeline, import in motion, connect media, export finished video, re-import into X and then do the whole dance all over again if you need to make a change. Is this the kind of speed your talking about?
Every NLE has strengths and weaknesses, the only thing that matters is how well they match up with your particular workflow. Talking about speed without specifying workflow is meaningless.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Craig Seeman] “FWIW I don’t see as many people moving from FCP7 to Avid saying they are significantly faster. Maybe because they are significantly similar and people are only making marginal changes in workflow.”
Actually, I’d say that Avid Media Composer is a pretty radical rethink for most people coming from legacy, too. It took me about a month to come to terms with the “Avid Way,” but once I did, I never looked back.
Chris
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[Herb Sevush] “Talking about speed without specifying workflow is meaningless.”
To this pont here is what I like,
I like being able to pick up an entire section in the time line, say….interview, video and their audio, graphics, b-roll and sound of b-roll and music, and drag that whole huge chunk down the timeline and drop it in another section as the timeline moves out of the way and adjust to all that in seconds.
That’s something I love. When the client comes in and wants a change, (and they always want
a change : ) It’s a snap.The connected clip style allows for moving huge sections quick and easy. To some people that’s not that important. To me, that’s a strength.
The no send to Motion is kind of a wash since they put all the logic tools inside X now and you save time with audio and those color templates. That’s something I figure they will add at some point anyway like they did when people complained about no multi cam.
I also like to hover over an effect to show the client what titles or a look will look like before I do it.
But this can lead to more time because they sometimes want to see more looks because they can hahahaI want the skimmer on everything.
I will take all the tools that X has and wait for then to add more. It’s getting better and better.This is all old news : ) People have posted their favorite tools since the forum started.
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[Andrew Kimery] “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.”
Relax. It’s just a reference point in this thread.
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Scott Witthaus] “[Andrew Kimery] “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.”
Relax. It’s just a reference point in this thread.”
I get Andrew’s point though. He put out an ACTUAL number, based on his ACTUAL work. I think maybe some people heard it as a ridiculous, rhetorical number because it’s too big to sound anything but condescending. LOL
Which of course, it isn’t. There are tools that are optimized to work with projects like that, others that aren’t. Andrew was doing what Herb rightly observed is essential for conversations like this, being specific about workflow. And, for that matter, work.
[tony west] “This is all old news : ) People have posted their favorite tools since the forum started.
“The fun of debating for its own sake notwithstanding, the reason that the forum is still going so strong is that people are coming to X for the first time every day. Or maybe they tried it earlier, found it a poor fit for whatever reason, but as X evolves and a new job comes along where it fits just right — well, that’s when the lightbulb goes on.
In that sense, there’s no such thing as old news. The software, the projects, the people trying to manage them — all of them are in constant motion. They won’t always align…but when they do, well, that’s when the lightbulb goes on.
That’s why threads like this are among my favorites. They point to this fundamental truth about the plasticity of experience.
On the flip side, some aspects of this can never be in motion, like the size of Andrew’s projects. By definition, each will be bigger than the last — but Andrew is still open to hearing that X is NOW up to a task that, in the beginning, was universally agreed it was NOT.
If that’s the case. Maybe it’s not.
So, X is changing, projects are changing, people are changing, which means that every conversation ever had in this forum will happen again…will NEED to happen again….because the more things change, the more they change.
Unless they don’t, because they can’t.
Yr pal,
TimmyTim Wilson
Vice President, Editor-in-Chief
Creative COW -
[tony west] “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.”
no sure absolutely – then bash away. doesn’t happen that often over here. a lot of my stuff is corpo and tends to be on site.
Although BBCWW are apparently going premiere and throwing anywhere into the mix too. bit down the line tho – but that will allow offsite editing pretty broadly if adobe can get it working with 10Mbs connections. even for people not willing to activate longterm subscriptions – 50/60 quid per gig to activate the edit system offsite is pretty cheap to access the anywhere system.
[tony west] “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.”
It kind of does though – there is a penalty committing to FCPX that is unlike other edit systems – not least because every single person who goes through the months required to acclimatise says repeatedly that they feel uncomfortable and out of their flow using FCP classic, premiere or avid.
Given absolutely no jobs are posted requiring it, and there are none – the issue goes back to the primary problem: why do you get into the weeds with a completely non-standard edit system for no visible return?
an apple driven, massive publicity splash for a hundred million dollar film harnessing X might change that a bit tho eh?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “he issue goes back to the primary problem: why do you get into the weeds with a completely non-standard edit system for no visible return?
“I hear you. There is no real reason for you to change at this point. You are getting paid on tools you like, and If a X jobs comes your way I’m sure you go do it.
I think there will be a return down the line. I just can’t see it going away.
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[tony west] “I think there will be a return down the line. I just can’t see it going away.”
neither can I tbh. part of me wouldn’t mind at all getting dumped into an X job. It needs to start appearing this year realistically, if it doesn’t it almost has be toast. – I’m the only one I know across directors, shops, fellow editors etc. that actually has the thing paid for and playing with it – it’s really hard to overstate the absence in london, (or the bits of it that I understand) – its a basic issue –
if no one sees it, no one is going to start considering using it, and as it stands, if I start talking about 10.1, the dot, the library, you name it – the thing does not exist. people basically stare at you.
And 90% of those people were and are FCP. that’s kind of the take home. I really don’t think apple have fully internalised the level of rejection.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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This sort of mirrors my experience in the Los Angeles market. I think it would take a real fan with real power to bring it on a network show, as the general consensus seems to be: FCP X is for consumers, and therefore isn’t even part of the conversation anymore. I know editors who’ve bought it to edit their daughter’s wedding videos with, but it never enters their conscience that it could be used for more than that, because they’re so accustomed to using Avid at work.
Chris
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it is about to get some deadly serious fans in the shape of six editors working iMacs on a warner brothers lot apparently. that could go a distance.
the issue is more the complete rejection of X by the FCP base? It’s nearly three years in, and most of the bigger places over here are six months past mouthing the word premiere.
In the end, Apple themselves decided to produce a system that has no continuation from FCP. Adobe ate that for supper, and they are likely going to win.even with the apple push (and four engineers working on it), X is probably vegas for OSX at this point.
really, really good audio plug-ins tho.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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