-
Apple’s Mac business plan
-
[Bill Davis] “So sorry, Herb. I’m not buying your line of reasoning at all.”
It’s not reasoning Bill, it’s the English language. You said:
“It does titles, incorporates graphics, allows you to rough out – fine tune – finalize – and even export and delivery in ways that are acceptable to the entire planet of video delivery RIGHT THIS SECOND.”
The “it” is FCPX. FCPX cannot deliver video that is acceptable to PBS without using additional programs to overcome it’s limitations. PBS demands tape delivery, not files, that fall within extremely narrow and unarguable tolerances.
It’s true that you can export files from FCPX then color correct and print using other tools. That does not mean that “it (FCPX) … does export and delivery in ways that are acceptable to the entire planet of video delivery RIGHT THIS SECOND.”
What you could honestly say is that “it” in conjunction with other third party programs can do it. That is not the same thing.
[Bill Davis] “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.”
True. But your previous statement was unequivocal – no tens of thousands – you said it would deliver to the “entire planet of video delivery.” That was an unqualified statement that isn’t true. Next time you might want to back off the “entire planet” phrase and use the words “many” or even “most.”
[Bill Davis] “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.”Try doing that with PBS and
First – your file will be rejected and then
Second – your producer will fire you.
They do not accept digital files as a deliverable for distribution, not by me, not by you, not by anyone. Not yet. Actually they still demand DVD screeners and accept SD material on BetaCam – ain’t that a kick.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
I agree it’s subjective. However I do want to see what the picture looks like displayed on the intended delivery medium, just as I want to hear a mix with speakers on the level of the intended medium. How else can you accurately assess and QC the project and know it is as you intended?
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.
-
That that have a whole sales division for business for starters. Ever bought from them? They’ll show up at your door!
The sales of iOS and OS X machines are increasing every quarter at a scary fast rate when the market for PC’s is shrinking a LOT. Industry buys more computers than consumers do. I don’t think this is all from consumer demand. I just don’t see them abandoning a market that has suddenly warmed to Apple. Read their latest financials to see what makes Apple tick.
The business market dwarfs the pro video industry.
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.
-
[Jerry Hofmann] “I agree it’s subjective. However I do want to see what the picture looks like displayed on the intended delivery medium, just as I want to hear a mix with speakers on the level of the intended medium. How else can you accurately assess and QC the project and know it is as you intended?”
Agreed Jerry, but let’s not forget Bill’s challenge to Herb above. After all, there’s much more to this business than just delivering pretty pictures.
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.
-
[Neil Hurwitz] “”She has no need for anymore firepower to do ALL
her print work,”Agreed, DTP has come a long way from letraset and such. Look inside large ad agencies, however, and you’ll see a lot the high-res print and photoshop work is done on MacPros. They DO need that firepower to turn out billboards and such ( i know its not all the work but still )
They always need to get more done faster, blame the clients !
-
[David Roth Weiss] “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?”
FCPX -> FCPXML -> DaVinci Resolve . Does this doesnt solve that? And if the argument is its not thru FCPX-only, does anyone here actually cc with Premiere Prto’s built in color corrector? Or AVIDs? Or any other major NLE(are there others)? I do believe if your really serious about color correction, and your’re in a big budget production house for movies or broadcast you would have to use a third party software for it. Which just has been solve with Resolves playing nice with FCPXML. On which you can color correct..on a proper monitor..so….
Quobetah
New=Better -
Close, but no cigar. FCP X’s XML everything in a Project. Here’s a copy and paste of the info in the Help menu of X27:
Here’s a list of what happens during translation. Video clips and stills in the Primary Storyline become clips in track V1
Audio clips in the Primary Storyline become clips in tracks A1 etc. Connected clips are added to higher numbered video and audio tracks Split edits (J/L cuts) are preserved Synchronized clips are supported
Auditions are automatically “finalized”
If optimized media (ProRes 422) has been created in Final Cut Pro X, Final Cut Pro 7 will reconnect to that instead the original media
Constant speed changes are preserved The active/inactive state of each clip is maintained
Blue markers become blue markers in Final Cut Pro 7; unfinished to-do markers become red markers; and completed to-do markers become green markersRoles are added to the clip’s Description field and Notes to the Log Note field
Cross Dissolve, Zoom, Flash, Lens Flare, Black Hole, Flip, Page Curl, Ripple, Swing, Cube, Doorway, Squares, Star, Band, Center, Checker, Clock, Gradient, Inset, Letter X and Wipe transitions are substituted with equivalents; other transitions become Cross Dissolve; audio transitions become Cross Fades
Titles become Outline Text titles containing the original text Generators become Slugs named after the
Final Cut Pro X generator The starting timecode is maintained
What doesn’t work?
The translation from Final Cut Pro X project to Final Cut Pro 7 sequence isn’t perfect. Here’s a list of what gets “lost in translation.”
• Compound clips
• Multiple speed changes in a clip and keyframed speed changes
• Effects
• For titles, font, size and color information does not transfer*. Some titles with complex builds may have the text out of order in Final Cut Pro 7.
• Transition settings*
• Color, Transform, Crop and Distort adjustments*
• Audio levels and audio enhancements*
• 4K media files (Final Cut Pro 7 supports formats up to 4000 pixels wide)
* we expect to support these features with a future version of Final Cut Pro XI think the fellas are on their way, but there’s many things that make this workflow definitely an Offline/Online situation.
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.
-
[Gerald Baria] “does anyone here actually cc with Premiere Prto’s built in color corrector? Or AVIDs? Or any other major NLE(are there others)?”
Yes, I do.
I cut multi-cam in-studio productions. They are, 95% of the time, perfectly color balanced. There are times when we grab shots from unusual angles or we get outside material that has to get integrated into the show and I deal with those shots with the 3 way CC. It’s good enough for the purpose I need it for. Need a monitor though, and also need a monitor to look for field problems. Are you telling me I have to get Davinci Resolve just for those basic functions. What next, I have to get Pro Tools to do an audio dissolve?
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Davinci Resolve Lite for free?
-
Craig –
it’s not the cost, it’s the inconvenience of having to bounce out of one program, export an XML, open another totally different program just to look at something in a monitor. That’s a ridiculous waste of time and energy for something so basic.
I know there are ways to work around many of X’s current limitations, but why should an editor have to “work around” functions that every other pro NLE on the market includes as basic? You are undermining all the speed benefits X gives you with that sort of workflow, it would be faster and easier to stay with Legacy.
This whole thread was started by bill claiming X was ready for –
“export and delivery in ways that are acceptable to the entire planet of video delivery RIGHT THIS SECOND.”
This is currently not the case. Using DaVinci as a work around doesn’t make that statement any truer.
This is also fairly moot because these issues should be resolved by the next upgrade. I was merely addressing Bill’s assertion that these issues were already resolved.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf
Reply to this Discussion! Login or Sign Up