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Ask yourself this question
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FCPX is the less intuitive, customizable and transparent NLE nobody could ever write.
[Larry Watts] “Second point. Follow the money. I’m a little suspicious about where a lot of bashing is coming from.”
The bashing comes from long experienced professional video editors.
What I really would like to know is how many licenses has Apple really sold.
No massive download of free plugins in the COW.
I really would like to know who is feeding FCPX. Who is trying to keep alive this “experiment.”[Larry Watts] “So let’s wait and see what Apple “
No thanks. I’ve been waiting since FC.6.
rafael -
[alban egger] “Some of the product is wrong, but it has way more upsides than downsides and it is already better than FCP7 in many ways.”
Alban,
To me, FCP X appears to have dumbed-down a lot more than just the software. Since June 21st it’s been open season on the truth.
Like most of those who’ve been repeating what you’ve said above since June 21st, you state the “FCP X mantra” as though it’s fact rather than simply your opinion. It surprises me just how many FCP users on this forum are oblivious to the difference between the two, stating their own opinions and true facts interchangeably.
The fact of the matter is, many very experienced editors believe FCP X has more downsides than it has upsides. And, while you believe “it’s better than FCP7 in many ways,” you’ll not have an easy time defending that opinion in a room full of experienced FCP editors. Had you substituted the word “some” or “a few” for “many,” you’d have made your defense a whole lot easier.
So, now that we have that out of the way, will you please list all of the “many ways” you think FCP X is better than FCP 7?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new tutorial: Prepare for a seamless transition to FCP X and OS X Lion
https://library.creativecow.net/weiss_roth_david/FCP-10-MAC-Lion/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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This has probably been mentioned before, but it might be worth 60 seconds to hop on YouTube and rewatch Apple’s “1984” Super Bowl ad. In many ways, Apple (a company whose consumer products, by and large, I still enjoy) has become the IBM they warned us about.
Christopher Gildenstern
Creative/Production Director
Barnes Chase & Davis, Inc.
Advertising, Marketing, New Media(This space for rent)
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Exactly. I still like and use many of their products but with FCPX they really sent a message to many of us who helped them in some small way with their success. I for one was one of, if not the first guy to use FCP at a World Series with my own system and Aja had to loan me a special Kona “1.5” to do it. And by doing that and by bringing my system into the building for another project, I played a big part in bringing FCP into Fox Sports as I introduced it to the producers and other editors there. And now it’s the main system used in my department with about 7 seats.
But now in return Apple has sent a clear message: “we don’t care”. To me that’s just bad karma but I guess I really don’t care either as I’m liking the other products out there. But it’s hard to ignore the “one finger salute” as W used to call it.
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It most certainly seems that this is what Apple currently aspires to be.
It is my opinion (and I really want to stress that fact – it is my opinion) that any corporation that rises to the heights that Apple currently occupies does not exist to serve its customers. It exists to serve itself – and by that I mean it exists to make as much money as it possibly can for itself and its shareholders. They don’t care about me, they don’t care about you. They care about selling a lot of stuff. That is why they (and just about every other corporation) are here. Anyone who thinks that any corporation this big has a heart or any sense of loyalty whatever is, I think, kidding themselves.
bigpine
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This is true of all corporations and the behaviour of the particular corporate entity in the marketplace is determined by where they perceive they can maximize profits, given their expertise. Thus the initial release of FCP-X is directed at what Apple perceives as a broader audience than the higher end.
It remains to be seen whether X will perform the way they’ve intended. It certainly isn’t for the casual consumer…rather, in it’s initial release, it seems to be directed at event video making – corporate, weddings, seminars, churches etc. But most of those people are already using other software and have developed the infrastructure around it. Is there enough advantage in X for them to switch? I don’t know, but given that the vast majority of the distribution in that sector is on dics I would wonder.
Then there’s the question whether X will ever be suitable for the higher end of the industry without the addition features that it apparently isn’t designed for: the track based metaphor and baseband video I/O.
So at this time the real question, in my mind anyway, is whether, given its disastrous reception in the higher end and its questionable adoption by its intended market, it will follow other new-product disasters like the Edsel and New Coke into oblivion…a thought possibly impossible to its supporters here, but I’d bet if one looked up the history of the Edsel and New Coke you’d find they both had loud vocal adherents who were certain the product was a new paradigm for the future.
Time will tell.
David
AllinOneFilms.com -
You moaners! This is the first release of the Edsel. Sure, Ford has made cars before, but this is something new. And Ford is serious about it. Do you really think that Ford would name a car after one of the founder’s kids if they weren’t going to support it for years to come?!
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[David Roth Weiss] “So, now that we have that out of the way, will you please list all of the “many ways” you think FCP X is better than FCP 7?”
Gladly…..
– Media Management and the whole keyword-structure…don´t think I need to explain why that is better than the old FCP bin where I never knew where I was and when I looked for something needed a loupe for it; now just type a keyword;and in fact it looks like bins still
– smart collections are on top of all that without subclipping (e.g. best/crane/evening/talentB/crowdnoise)
– Skimming: Open your Event and skim through hours in minutes; no more double clicking dozens of clips to see what´s in them and it allows you to be a little careless with your keywords if need be;editing: I list a few simple tools that make life easier for me
– again skimming: no more aiming for the timebar; move your mouse to where you want to start, hit SPACE or some other key….done; BTW you can turn it off and use JKL…surprise
– primary storyline (full ripple-mode): I often get back to my edits to tighten them. This time I don´t need to watch for collisions and lost sync on various tracks. Maybe again I can edit a little more careless, but why is that bad? If I need more “freedom”, use the P tool to position clips down the line
– Trim-Start / Trim-End / Trim to Selection: these save hours every week and I missed them since I saw them on Edius.
– the new replace commands are a faster way of the 3-point edit. Select the clip (one click instead of click in, set I, click out set O; but you can still do that and then you can still insert, overwrite the selection or set a connected clip above)
– this time round nesting works: compound clips and especially the secondary storyline help arranging sidetracks of the story and stay connected to the exact moment in the primary storyline where you want them no matter what you do; if I need them in certain tracks I need to be innovativ, that´s true, but I can manage that because you can move compound clips up and down; say you have graphics for different languages….compound them; stack them and toggle them on / off
– timeline index: longtime missing in FCP
– audition; although I didn´t use it much yet, when I did it was a solid help
– Titles/Effects from Motion: some of you pure editors don´t need this if you have graphics departments, but for smaller houses this new motion-to-FCPX plug is very practical. And trust me your graphics artists will surprise you when they publish new graphics into your project without you noticing it 😉I could go on, but I need to work on. These are just a few tools that make me edit faster. I understand if you have an assistant editor who logs everything perfectly and puts it into bins then the media is there for you, but if you edit from scratch like many of us (and yes we still feel we are pros) the mediatools are a huge improvement.
Editing is just faster; you just don´t have to think about what-might-be-down-the-timeline that much. But that´s my experience and you are be right: I should clearly state all this as my opinion and not as a fact.
And you are all right about the missing features to work in groups (edit/audio/grading). They have to soon offer ways to export timelines for other programmes and co-workers on them.
edit: ONE HUGE factor why it is better than FCP7 that just jumped into my mind when I left the post: on many operations FCPX keeps playing! It doesn´t stop for every trim or audio-levelshift…it plays.and it plays in the background while you maybe adjust a motion effct or work in Photoshop or read the Cow
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