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Before you get too comfy in your switch . . . .
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Because those are only “basics” to a very narrow slice of the overall programs user base.
XML, EDL, and Tape are the tools of the centralized, monolithic studio video processing model that is aging rapidly – and that production model has been under siege for well over a decade. (I can’t remember what year was it that the Academy Awards broadcast graphics package was first done by a guy in his garage rather than at a post house but I think it was around 2004!)
Only work done in the “traditional workflow” model necessitates the tools you mention.
I suspect that the vast majority of the videos made for money today are done by one-man bands and smaller, distributed teams and and they simply do not require such legacy tools to succeed.
For what it’s worth.
“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’Conner
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Will be very interesting if someday, I can create my special interest video in FCP X v3, drop it to iCloud – and anyone with an Apple branded TV, an iPad or suitable box can access it via iTunes WITH the capability to drive pay per use revenue to my PayPal account.
That would kinda change everything, huh?
“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’Conner
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[Bret Williams] “Their biggest piece of acquired code- iTunes!”
Hmmm, I’m thinking the biggest piece of acquired code might be OS X. 🙂
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[Rocco Forte] “It’s obvious – they’re building 2K video cameras!”
Not Apple but they are looking to support them. JVC has something in the works that looks to be in an “affordable” price range. 4K. They were displaying this. Canon has been toying around with 4K (or was it 2K) also and were displaying a concept camera last year.
It may well be that Apple sees 4K happening in a bigger way than 3D and it’s why you see support for 2K and 4K in FCPX but not 3D.
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[Craig Seeman] “It may well be that Apple sees 4K happening in a bigger way than 3D and it’s why you see support for 2K and 4K in FCPX but not 3D.”
I seriously hope you’re right that Apple have all the foresight necessary to anticipate the death of stereoscopic – it can’t come too soon!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Bill Davis] “Will be very interesting if someday, I can create my special interest video in FCP X v3, drop it to iCloud – and anyone with an Apple branded TV, an iPad or suitable box can access it via iTunes WITH the capability to drive pay per use revenue to my PayPal account.
That would kinda change everything, huh?”
Have you wondered why Compressor 4 has presets for HTTP live streaming?
The missing Apple controlled link is HTTP live streaming distribution. Perhaps iCloud and/or the vast amount of server space Apple has put together.
Watch Apple’s land and real estate acquisitions and I don’t mean places to put Apple Stores either.
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[Jeff Bernstein] “As one who helped create QuickTime in the early years, I can tell you that Avid and Adobe have well-placed fears of entrusting the core of their products to Apple.”
I think that many people at Adobe and Avid would agree with you. 🙂
As for Avid’s dependence on QuickTime, I can’t speak for today, but it’s easy to forget how long Avid has been at this. The first version of Media Composer shipped in 1989 — QuickTime wasn’t even released for two more years!
Also, QuickTime didn’t support timecode until 1995 — SEVEN years after Media Composer shipped. And those of us who were around at the time can testify that the word “support” is generous. It was a mess. Avid NOT using QuickTime as a foundation is a big reason why sync was so rock solid for Avid when that simply wasn’t the case for QT-based systems.
(And in the category of “been at this a long time,” Avid won a technical Oscar for Film Composer in 1998 — a nearly 10-year-old, Mac-only product, back when Final Cut was still running on Windows at Macromedia!)
Like I said, I don’t know about how Media Composer works with QuickTime today, but it’s important to understand how long Avid had been in the game as a Mac-only company before QuickTime was even vaguely useful.
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The challenge for the bigger FCP pro houses, broadcasters and post-production facilities is going into a holding pattern while waiting on FCP X to mature. Sure they can look to the Apple FAQ page and take comfort knowing that many of the features they need are on Apple’s roadmap for the future. And they can experiment and learn with X while still doing work that requires specific features using their existing FCP 7 licenses.
But what happens when they need to add more workstations with FCP 7 right now because the features they need to expand operations are not available yet in X? No more new FCP 7 licenses are being offered by Apple. Sure, these customers can look to eBay or find old stock or whatever. But doing that for 100 seats at a time may be more of a challenge than they want to deal with and thus, they may be forced to switch for no other good reason.
Apple bringing back FCP 7 for sale, at least until X is a few more updates down the road would make a successful transition from 7 to X a lot more plausible. Especially for the high-end professional customers Apple seems to be targeting in their marketing and NAB visit. Just like they kept OS 9 on the market for a good time after the initial release of OS X and same with iMovie 08 leading to a re-release of iMovie HD to smooth the seams of transition. Because as all good editors (pros and otherwise) know, the key to a good project is a graceful transition.
Noah
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Panasonic GH2 and GoPro HD Hero.
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Because those are only “basics” to a very narrow slice of the overall programs user base.
But it is that narrow slice that is here on the Cow. We are that user base, and because there are others like us we can exchange information. And the information we are exchanging is that Apple is no longer interested in creating products for us.
Only work done in the “traditional workflow” model necessitates the tools you mention.
Correct again. And since that model will still be dominating the broadcast and film industries for at least the next 2 years, any product that doesn’t take that into account is by the definition of this small slice, not “pro.” Whether you can make money with it or not.
I’m sure there are many video forums around where the users are thrilled all to pieces with FCPX. It’s just that the editors on those forums are not producing network and cable tv shows and theatrically released features. No one is saying FCPX sucks, we’re saying it sucks for us.
(Actually some people are saying it sucks, but it flowed better the other way.)
Herb Sevush
Zebra Productions -
[Jeff Bernstein] “As a result, Disney, along with SMPTE, have embarked on a replacement for QuickTime, yet it emulates many of the core features of QuickTime, but brings it to the next level. The key here is that industry begged Apple, Apple said no, then the industry said we better make sure this is an open standard so we don’t find ourselves in this position again.
Will software manufacturers embrace this new standard? It is too early to tell. The hope is that it will become an industry standard with support on as many OS platforms as possible.
“interesting post Jeff… thanks
the questions i would have asked you over the years…. lol
damn QT has always been such a mess, and yet so brilliant, QT is way beyond just being a player or a video container… it sometimes seems as deep as a mini OS… and then there’s stuff like QTVR or the editing features… or just being able to open multiple players simultaneously…and just like you say… its not an open standard. so it comes with chains…
any info i can read on this new SMPTE/Disney file format?
it sounds quite interesting.
hector
Hector Berrebi
prePost Consulting
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