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Apple’s Mac business plan
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[Bill Davis] “and even export and delivery in ways that are acceptable to the entire planet of video delivery RIGHT THIS SECOND.”
I have no argument with most of your post, but this line is not true. X cannot color correct accurately since there is no video out and you cannot print to tape for broadcast delivery. It is possible to do those things by going outside of X and using other applications to fill in what X can’t do, but X, by itself, does not allow for broadcast delivery right this second. Avid does, FCP7 does, PPro does, Edius does, and I’m guessing Media 100 and Vegas do as well – FCPX, like Imovie, does not.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
It might be good to breakdown what “ready” might mean to people.
One might be feature parity with the other major NLEs Media Composer, Premiere Pro, FCP legacy. Granted each NLE will do things the others can’t but are all the most common functions there. For example some one consider the lack of Video Out monitoring as a “not ready.”
Another form of ready might be consistent use within its own paradigm. One might say that adding a dissolve and video only dissolve are obvious but adding an audio only dissolve involves a very different set of steps. One might say handling of audio dissolves (and more broadly audio) is not ready yet.
Still another form of ready may be can it perform functions from the above categories albeit with some workarounds or is there some function it can’t do at all . . . that there is no practical workaround for.
I think some of us are using “ready” differently so we might be more explicit when saying what is or isn’t ready given whatever your workflow is.
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No doubt there are people that could use FCP X right now. If your delivery is the web, it’s a no brainer good choice. If your delivery is anything else, it’s questionable… can’t view externally.
If you can’t view externally for proper color correction, and you can’t lay out to tape, and the xml isn’t supported by all yet, and there’s no way to output a cut list, EDL, or output separate tracks, (though I think that roles are the beginning of this ability), then it’s not ready for a lot of people’s needs. Most of the national networks still required color corrected broadcast safe tapes. You can’t trust a computer display’s rendition of the picture. Just doesn’t match what that same file would look like on a TV set.
There’s a lot to love with FCP X. I’m using it, and I really like it. I’m convinced it edits a lot faster than FCP 7 does, and it logs a TON easier. But I can only use it because I can use Phil Hodgett’s X27 software to finish a project back in FCS 2009. As of now, I offline in X, online in 7/Color 1.5/Motion 4. Though I’m looking close at biting the bullet, and running with Smoke. (not for the feint of heart I should add, as it’s pricey)
Don’t get me wrong here, I love the start of X. It just needs some time to mature before I and a lot of other people who deliver for “other than the web” can use it exclusively.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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[Jerry Hofmann] “No doubt there are people that could use FCP X right now. If your delivery is the web, it’s a no brainer good choice. If your delivery is anything else, it’s questionable… can’t view externally.
If you can’t view externally for proper color correction, and you can’t lay out to tape, and the xml isn’t supported by all yet, and there’s no way to output a cut list, EDL, or output separate tracks, (though I think that roles are the beginning of this ability), then it’s not ready for a lot of people’s needs. Most of the national networks still required color corrected broadcast safe tapes. You can’t trust a computer display’s rendition of the picture. Just doesn’t match what that same file would look like on a TV set.
There’s a lot to love with FCP X. I’m using it, and I really like it. I’m convinced it edits a lot faster than FCP 7 does, and it logs a TON easier. But I can only use it because I can use Phil Hodgett’s X27 software to finish a project back in FCS 2009. As of now, I offline in X, online in 7/Color 1.5/Motion 4. Though I’m looking close at biting the bullet, and running with Smoke. (not for the feint of heart I should add, as it’s pricey)”
True, but if you grade in DaVinci then you can at least have a monitor output at the grading stage, which is exactly when you need it. It’s not a full solution, but it’s a start.
How is X27 working out for you?
“My Name is Steve and I’m an FCPX user”
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X27 does exactly as it’s advertised. Can’t get filters to go across, but in an offline, that’s really not a problem. Once in 7, you could export to whatever for the finish. Phillip and Greg will be developing it further no doubt.
In time FCP X’s XML flavor will be read and interpreted by more softwares but right now, Philip’s software is about all that’s out there. I heard of Cat DV being used somewhat here, but I’m unclear on what it does exactly with X.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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[Jerry Hofmann] “… if they are serious about penetration into the business world (which they say they are)…”
Jerry,
But are they? Who said they are?
Franz.
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[Herb Sevush] “have no argument with most of your post, but this line is not true. X cannot color correct accurately since there is no video out and you cannot print to tape for broadcast delivery.”
A. Tens of thousands of videos are finished daily that were shot properly (which is dimply defined as “to the standards of their producers) and so need NO color correction step whatsoever. I’d argue that the VAST majority of videos fall into this category even if *I* might feel that they could benefit from a CC step.
B. I have output Quicktime files from FCP-X that were subsequently sent to stations for broadcast.
It may require something other than a single button push which might be “inconvenient” to you. But that’s not the same thing as your way overly broad “you cannot print to tape for broadcast delivery.” That’s another fine example of anit-X hyperbole. If one can “print” a QT file out of X (and anyone can) and put that on media – and distribute it. That’s the essential function anyone needs and X does that just like any other NLE.Raise something “video editing mission critical” that it actually “can’t” do, not something it can do perfectly well, just not the way you want it to – and I’ll be happy to listen.
So sorry, Herb. I’m not buying your line of reasoning at all.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Bill Davis] “Raise something “video editing mission critical” that it actually “can’t” do, not something it can do perfectly well, just not the way you want it to – and I’ll be happy to listen.”
Forgetting about proper color, which is highly subjective, how about fields-related issues, which involve no subjectivity?
How exactly can you properly QC the output of FCPX without being able to see mismatched fields or reversed field order, both of which require proper video monitoring?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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I am just curious here, but I do beleive that most “PRO”
users of Apple gear don’t use MacPro’s. I know a women
who does major print layouts, brochures,Advertisments and
send/give out material for the travel industry and
she uses a well kitted out Macbook Pro as do most of her
collegues. Some prefer the new 27″ Imac for their “office” machine
She has no need for anymore firepower to do ALL
her print work, Period, End of Story.
Lets not get to stuck up here and think that the “Video Editor”
is the only pro user of Apple computers. As someone who once paid
15,000 for 6 gigs of Avid storage I can see the whole desktop thing
going away and into the cloud. The only thing stopping this is
the current bandwidth buildout, BUT THAT WILL CHANGE
It just might crap out all GPS systems as we know them
Now, Pay Attention to High Speed Wireless Internet
Hey, remember the shoe phone on get smart. -
[Neil Hurwitz] “Hey, remember the shoe phone on get smart.”
Can’t hear you Neil, the cone of silence is stuck again:)
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