-
Apple gives up another network client
-
More from that Murch article:
““We’ve gotten some abuse from our brethren suggesting that we’re hurting jobs by talking about Final Cut Pro since so many editors and assistants have built their careers as Avid editors and have perfected their technique on that interface,” says Cullen. “But what we discovered is that the only real adjustment was in the way of thinking about the tools you use to edit. For instance, it’s been suggested that an Avid editor would hate the fact that you can’t customize the Final Cut Pro keyboard, and that was a pain, at first, because things just weren’t where we were used to them being. But we found out that once you do get used to the keyboard, it’s actually easier, and now that we understand the Final Cut keyboard layout, we’ll never go back. Avid’s keyboard is one layer ‘deep,Â’ whereas Final Cut’s keyboard is four levels deep. Every key is used for one tool at the top level, but then, by holding down the shift key and that same tool key, we could get another tool, and so on. Once we got used to that way of working, it was actually more efficient, and this type of clarity is pervasive in all aspects of Final Cut Pro.”
A typical, epic-style battle scene from the film. Over 600,000 feet of film were digitized during the course of Murch’s editing work on the movie.
Murch adds that, at the end of the day, Final Cut Pro was also “significantly” cheaper to use for a major feature. Cullen worked with Digital Film Tree to set up four FCP workstations and a workflow for the Cold Mountain project at the cost of what Murch claims is approximately “the cost of a single high-end Avid edit station.””Dat price…
-
[Charlie Austin] “[Chris Harlan] “I think the reason that this whole conversation seems odd to me is that I perceive Motion as being part of FCP and one of the reasons I like FCP so much. I think of Soundtrack Pro as belonging to FCP as well.”
I wouldn’t be at all surprised if thats the “plan” for X as well.”
I’d be thrilled if it is. I don’t see anything that can’t be addressed that would keep me from being an X user. Whether it will be or not is another question. But I’m perfectly content to wait on the sidelines for the time being. And I’ve been enjoying Pr and MC quite a bit, though my heart still belongs to 7.
-
They should stop dicking around with Open in Motion, Send to Motion workflows and just build that functionality into X. It’s ridiculous that they didn’t do this right from the start.
Add 50 bucks to the cost of X if necessary.
-
That musical chairs procession you just illuminated explains SO much!
-
you know what I mean though – when you talk about editing as a thing a place does where they put down seats and pay the heating, or a thing where they ask you what you can use – there have been two applications – AVID and FCP, you don’t see places with multiple suites running vegas, I dimly understand that there is a lot of great stuff in vegas, some of the killer features get posted here occasionally as prior art. but vegas sort of doesn’t matter in the broader scheme of things. and it hasn’t for its fairly long existence.
its not what the courses in the colleges teach.
I’m saying that this is FCPX’s destination, and its approaching it more rapidly than people might think.
its timeline particularly is off in the crazy weeds, and apple being apple, as a fundamental – this is our philosophical call thing – its likely going to stay there.
that is completely outside the issue of the editor’s innate skill and craft – brilliant people, with the latitude to cut completely on their own kit, who have made FCPX their own, are choosing and crafting approaches with a tool that suits them – there are plenty on here who could lay me to waste as a neophyte editor, using nothing but a scissors and some twine, as it were.
I just think apple have sent this software far out to a weird, peripheral, motion application type orbit, and it really is not coming back.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
touché.
Still.
You won’t work in the primary though eh? how crazy a statement about the state of the FCPX timeline is that?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Aindreas Gallagher] “touche.
Still.
You won’t work in the primary though eh? how crazy a statement about the state of the FCPX timeline is that?
“lol… I couldn’t resist, I know you’re not thin skinned so… 🙂
And I actually think that the fact I don’t have to work in the primary means that X is not as inflexible as some make it out to be. I can pretty much do whatever I want. The more i use it, the more I realize that there really isn’t anything I can’t do in this app that I could do in 7. I’ve had to figure out slightly different ways to do some things, but only because it’s *not* FCP 7. I’d have to do the same thing no matter what new NLE I started using. The caveat being that I don’t need to edit to or capture from tape. If ya need that then it’s probably not gonna work. We get nothing from the studios on tape anymore. They do still deliver stuff for broadcast on tape, but we typically don’t finish stuff here so it’s not a problem.
I do agree that there are some big shops that will ditch FCP for MC or Pr, though I think it’s more, as Tim said the other day, because maybe they shouldn’t have moved to FCP in the first place. So your point is valid. I mean, even now FCP “classic” has compatibility issues with finishing/delivery places. I don’t think there are many people, or any at all here in LA who’re using FCP as a finishing tool. I’m sure there are some, but the people who finish stuff that we do, feature trailers and TV spots, don’t. I posted earlier about some EDL’s i sent out from 7 that were just crap, unusable. The one I sent out from X was just fine. Go figure.
————————————————————-
~”It is a poor craftsman who blames his tools.”~
-
[Chris Harlan] ” start seeing it as a complex and fairly advanced Titling and masking tool “
sure god chris – I think I’ve said this before, but here is my lament:
I ended up hacking a bodge for all of the GMT promo endboards across the entire bloody schedule of Aljazeera English to be produced, using a database motion companion application available at the time – that fed into Motion via an excel sheet. Motion would output five second endboard with alpha .mtn thing clip slugs based on the schedule GMTs in the excel sheet provided by scheduling.
This hilariously, was because the pres system at the time, at launch, that barely worked, called octopus (?) if I remember, couldn’t manage it – there were no front desk style chyron time title overlays that could be triggered. there was *no* pres titling triggered off the schedule. We had to burn in every single GMT time variable on end programme title lower third for every promo we cut, in the suite.
Each promo master had to be strung out with 12-20 different GMT broadcast time duplicates, with endboard slugs generated from motion, laid to hdcam tape with paper notes (four bloody time zone broadcasts for each showing) for every single promo made each week with maybe twenty odd promos as 15 and 30’s pushed out each week in the four suites across all the docs and specials.I do, I swear to you, know that motion as titler!
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
-
[Jeremy Garchow] “And what if it did turn in to Alam DV? Would Apple go under?”
Obviously not, but it would be a shame if Motion didn’t gain any real traction outside of FCPX. I want to see Motion grow into a fully featured tool that can compete with AE. It might sound odd coming from me (a Windows based AE user), but AE needs more competition in this space, and currently, there just isn’t anything for less than $3k that does that… not good.
[Jeremy Garchow] “Would the post production community lose out? No, it wouldn’t.”
I disagree, where competition is thin, (generally) end users lose. I like having options, and I like to see competing products make each other better. I’ve been in the process of learning Nuke, but it’s not really a good option for me (motion graphics wise), if something should happen to AE. In the process of learning it (Nuke), I discovered something discomforting… nothing really does what AE does. It’s such a great multipurpose tool for VFX and a powerful mograph tool; I have virtually no options if anything happened to it… I really like AE, I don’t like the idea of it being the only serious mograph game in town. I would love to see another AE/Combustion dynamic, where you had two similarly priced applications that had lots of overlap in fierce competition… unfortunately, Autodesk didn’t see it that way.
[Jeremy Garchow] “I don’t think that Motion deserves, or even wants, a Cold Mountain moment. Well wait, this just came to mind: https://provideocoalition.com/index.php/mspencer/story/billy_fox_and_motion/.”
This is a good start, I hope to see more people using Motion for things like this, and I hope that a larger Motion user base sparks more utility and innovations from Apple. I feel like they gave up too quickly. Actually, I would be beyond jazzed if Autodesk jumped back into this space with a sub $1k version of Toxic… I want to see more heat in this market.
[Jeremy Garchow] “And that’s what Motion is good for. Editors doing some compositing. It’s not that sexy.”
Yes, agreed… I think it could be more though.
[Jeremy Garchow] “Motion is fine for a lot of things, but it is not Ae and probably never will be.”
No doubt… but wouldn’t it be great if Apple didn’t kill Shake for nothing? Wouldn’t it be fantastic if they actually got serious about VFX and Motion Graphics?
Shawn
-
[Shawn Miller] “Obviously not, but it would be a shame if Motion didn’t gain any real traction outside of FCPX. I want to see Motion grow into a fully featured tool that can compete with AE. It might sound odd coming from me (a Windows based AE user), but AE needs more competition in this space, and currently, there just isn’t anything for less than $3k that does that… not good. “
That’s a fantastic perspective. Thank you.
[Shawn Miller] “I disagree, where competition is thin, (generally) end users lose. I like having options, and I like to see competing products make each other better. I’ve been in the process of learning Nuke, but it’s not really a good option for me (motion graphics wise), if something should happen to AE. In the process of learning it (Nuke), I discovered something discomforting… nothing really does what AE does. It’s such a great multipurpose tool for VFX and a powerful mograph tool; I have virtually no options if anything happened to it… I really like AE, I don’t like the idea of it being the only serious mograph game in town. I would love to see another AE/Combustion dynamic, were you had two similarly priced applications that had lots of overlap in fierce competition… unfortunately, Autodesk didn’t see it that way.”
Yes, I agree completely about the loss of Ae. Luckily, Adobe is in good financial standing and doesn’t appear to be going anywhere. But, even for 3 grand, Smoke is capable. It would take a lot of getting used to, but it’s good. You’d have to buy a lot less plug ins as well. 😉
[Shawn Miller] “No doubt… but wouldn’t it be great if Apple didn’t kill Shake for nothing? Wouldn’t it be fantastic if they actually got serious about VFX and Motion Graphics? “
I don’t know. This guy seems to think that you don’t want Apple to get serious about it: https://digitalcomposting.wordpress.com/2011/06/28/x-vs-pro/
Reply to this Discussion! Login or Sign Up