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Color me unimpressed
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[CharlieX] “but FCP 6 is just another upgrade, not a revolution.”
It’s not meant to be. FCP Studio 2 is the revolution.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”Read my blog! https://blogs.creativecow.net/WalterBiscardi
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Ok man, ok.
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>>I personally like the round tripping. FCP is an editor. That’s the focus. More than anything I think the disappointment is in a decent title tool (which i think is not really worth round tripping.
I don’s mind breaking down the separate jobs into seperate apps. I would rather have each app doing it very well than one app doing it sort of pretty good.
It’s nice to complete a cut and then export the sound and do a mix and now I can export the picture, put on some decent music. Do a great CC pass and relink it back in FCP for output. I like this breakdown. It helps me give the correct attention to each component of post.<< From a film standpoint, I agree and also prefer separating things. I realize that turnarounds in corporate and broadcast are different, and it's not like you have a luxury of time and money in film, either. But with film you often have different specialists in each area, and overlapping the processes can get quite messy. I always do sound design in Pro Tools as a completely separate process after picture lock et al, and to be honest, the change in gears can be quite refreshing...helps you get into the individual mindsets for each stage whilst keeping the entire workflow compatable and smooth. Photography to telecine, to edit, to sound design to negative cut/opticals to mix/master to answer print and such...I still miss that, and the challenge of gathering those separate entities into one chain. As stressful as it was....it was still fun. But obviously, shorter-form projects for commercial etc. can work very differently and multi-efficiency is a serious subject. We still all want the 'magic box' in some ways, and there's tha tcertain feeling of empowerment (when paid for ;-D ). But coming from a film background, and still doing that almost exclusively on my own outside of freelance commercial/corporate gigs..I'm really not in the least bohtered by migrating from app to app...as long as they all play nice, of course. 😉
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I’m an Avid guy, with an FCP system at home. I’ll never be an FCP guy with an Avid at work, because I’ve been working too long on Avid products (Think version 4.0!) and I’m just way faster on their gear. But remember, editing is about storytelling, not tools. How I get to the end product really doesn’t matter.
I bought into FCP because it’s modular, and in a sense, future proof. My I/O box goes out-of-date? Replace it with a new one. I don’t have to trash the whole system, as I would in Avid world.
Get excited about color. It’s the best color correction software short of Symphony, as far as I can tell. Synthetic Aperature’s Color Finesse is the only other product with this much power.
Also, don’t think you’re going to have to open Color each time you need to correct a clip. You can save Color presets to your bin and apply them within FCP, if I read it right.
So get impressed. Avid hasn’t had a release with this much new stuff in it for at least five years. Their stability has gotten WORSE. Apple is making a more exciting product these days.
I want to see if the new Server software will be of use… time will tell.
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[walter biscardi] “Asking Color to work inside of FCP is like asking a daVinci artist to do some editing on their color workstation. It’s a very specialized tool and what I don’t want to see is Apple watering down Color to make it work inside FCP.”
Having Color inside FCP would have been terrific. You don’t have to spend much time with Avid DS (or Discreet Smoke) to realize how powerfull is it to have every tools in one app. The argument that it would clutter FCP’s interface is invalid. They could have made a “Color Correction mode” just like in Avid.
And well, Color isn’t far off from that. You can see it as a color correction mode in FCP, but what I fear is bugs and limitations. and if we need to render a color corrected sequence to file and rimporting this to FCP, this will be a very painfull round tripping when working with clients or when working with projects that gets revised alot.
I think that for those of us who are unimpressed of the new version is that there is no Extreme version. Sure FCS is of very great value. But what we want is a more expensive version (say from 3K to 10K) with more tools in one big app. Sort of a DS or Smoke killer. We want trackers, effects trees, advanced masking tools and keyer, advanced color correction, advanced retiming tool that can deal with 3:2 24p clips… There is a big market for this type of tool.
It’s sad enough to see that even Media Composer (now 4000$) gives you about all this (minus the effects tree), alas in the most ugly and unfriendly interface (yet, very effective once you “got it”).
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Im an Avid DS Nitris guy who has been on the system for about 10 years. As much as I love its power…it has been treated like the idiot child by Avid for to long. I also have FCP at home. The writing on the wall for the DS is clear to me. I love learning at home and
when we add that new FCP room at work (in a year or so)…I will feel as comfortable with FCP as I am with the DS. Its a good thing I enjoy learning stuff. -
[Michael De Lazzer] “Get excited about color. It’s the best color correction software short of Symphony, as far as I can tell. Synthetic Aperature’s Color Finesse is the only other product with this much power.”
No offense, but this does not compare to Symphony, it compares to daVinci. In fact, daVinci artists are moving to Color (formerly Final Touch) because of the power of the secondaries. Color Finesse is a toy compared to Color. I looked at CF when we were having problems with the XML feature of Final Touch.
I’ve owned Final Touch for over a year (now Color) and as a color correction tool, there is nothing on a Mac or Windows platform like it. If you want to compare it to anything, it’s only the daVinci. Now that it appears Apple has fixed the round trip issue, we look forward to putting it back into our workflow.
I really don’t know of any other desktop based tool that comes with a Primary In, 8 Secondaries (16 really if you use vignettes), ColorFX room AND a Primary Out, oh and it’s included in a $1,300 package. On this one, Apple has got Avid completely beat.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”Read my blog! https://blogs.creativecow.net/WalterBiscardi
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[Le Coyote] ”
I think that for those of us who are unimpressed of the new version is that there is no Extreme version.”Not sure what an “Extreme” version would entail since this one now has realtime just about everything. What else does it need?
Mixed formats and frame rates in one timeline, realtime transitions, Motion integration into the app, new HD Pro codec. I’m really not sure what an “extreme” version of FCP would have that the new Studio package does not already have in it.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”Read my blog! https://blogs.creativecow.net/WalterBiscardi
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[Le Coyote] “I think that for those of us who are unimpressed of the new version is that there is no Extreme version”
I for one am etremely pleased that this did not happen … of course, it may yet come to pass, but I hope not.
One of the strengths of Apple’s Final Cut software has been its refusal to over-adopt the tired approach. Any user has access to any feature, and is limited only by his own hardware.
Now, if Apple, using their proprietary knowledge of the software, were to engineer their own +5K hardware engine that would allow them to really blow the roof off with FCP, well then yes please!… and/or if they opened up their software to provide the hooks needed for third-party developers to develop such an engine …. or even just to add more hardware surface controls, then I’d welcome it wholeheartedly.
But please save us from the approach that would have kept “Color” for the Final Cut Studio Extreme hardware/software bundle users only.
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[Andy Mees] ”
But please save us from the approach that would have kept “Color” for the Final Cut Studio Extreme hardware/software bundle users only.”If Apple bundled a $25,000 piece of software into FCS 2, I’m really not sure what an “extreme” version could even entail except 8 streams of uncompressed HD in realtime, but even there, you’re talking about throughput from an array. Heck with a fast enough array you should be able to push quite a few streams of the ProRes 4:2:2 10bit codec.
I really hope we don’t see any sort of Extreme version of FCP because like you said, Apple really does not work on that model of multi-tiered pricing like our friends with the other “A” company.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”Read my blog! https://blogs.creativecow.net/WalterBiscardi
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