Creative Cloud

[Al Levine]

I can’t wait for this day.

All our projects and our finishing house is still using FCP 7. Until we’re forced to switch for some reason, I can’t say we’ve seen anything go that direction yet. Most people are still treating FCP 7 like the one and only alt to AVID. It’s weird.

[Keith Koby]

Had know idea there was a music video from the beta band.

[Oliver Peters]

Yes, CC adoption is moving forward. Although the release that just hit last night seems to have a number of bugs and conflicts related to the Direct Link SpeedGrade integration. Bounce over to the various Adobe forums for more details.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[James Ewart]

Rumour has it the BBC are moving forwards with new Mac Pros and FCPX.

[Jeremy Garchow]

It seems there’s a new rumor every week about what the beeb is doing.

I think they are too massive to commit to one OS, computer type, and software.

Will they have MacPros with FCPX? Most likely.

Will they have everything else? More likely.

[James Ewart]

For sure. With Mac Pros.

I think for mainstream broadcasts and such like (Match of the Day, the News etc.) Avid is the weapon of choice and will always be so unless something cataclysmic happens. But for the segments and Docs (as a film editing tool) for which FCP7 is the current tool they are most likely going to slowly move over to X and not go the Adobe route.

I am not pretending to be an authority here. I work in a bubble.

I kind of like Premiere and am not technical enough to know what the objections are but for some reason they don’t seem keen on that route.

Anyone anyone?

Bueller Bueller?

[Mark Dobson]

[Jeremy Garchow] “Will they have MacPros with FCPX? Most likely.”

I think that the few editors who have publicised their use of FCPX within the BBC will be seen as trail blazers.

I’m thinking of Nick Watson who edited ‘The Man Who Shot Beautiful Women’ on FCPX and Craig Slattery, who regularly contributes to this forum, who has edited numerous editions of the BBC1 ‘The Culture Show’ using FCPX.

With the new Mac Pro being launched next month together with an updated FCPX I’m sure many other producers will take advantage of this software which, even sceptics would acknowledge, has finally shaken off it’s initial bad publicity, to be regarded as one of the leading NLEs.

[Aindreas Gallagher]

well says he –

I just spoke recently with a BBC media guy who would rather know – to my limited knowledge there are no real moves in that direction for FCPX as of yet – doesn’t mean it wont happen, but X basically wasn’t on his radar. He expressed polite interest and said he had heard there was an update coming.
I’m just after spending the last few weeks cutting a short film for BDA at BBC worldwide and well, like bloody everywhere – they are standing pat on FCP7 across over a half dozen suites currently – they have yet to make a decision (yay! FCP7 for evvvahh) but to my understanding FCPX realistically does not feature.

On another note – the next major BBC nature series looks like it will be cut in PPro: on one of the previous ones, the offline work files consumed roughly one third again in storage off the master material. And that was an extremely large number. that said, in that context the master material was on LTO – now the full volume will be going to native live playback storage – so swings and roundabouts.

Its pretty widely acknowledged that PPro handles, say, red extremely well at this point, also the new colour engine is a bit of a boon applying seamless adjustment layer LUTS throughout the editing process. and it is a reliable cross platform editing system advancing, under Al Mooney, at an insane rate of knots – and this from a company that is not about to be de-listed from nasdaq (that one’s for you craig seeman – get in here and kick avid would you? I was busily badmouthing it to anyone who would listen to me in there, to probably greatly limited effect. As said – Avid is a mortal lock for the topline stuff.)

avid aside – anyone who doesn’t take a long look at the PPro that is now developing is kind of out of their minds. It matches and exceeds FCP in practise, and it is forcibly trying to eat avid heavy iron with anywhere etc. Adobe really are not messing around.

that spiel aside – Garchow’s point really is kind of the best one? – its basically impossible to deliver any kind of overarching statement relative to the beeb – its an impossibly big organisation. For instance – in retrospect – that purchase of the thousands of premiere licenses could look more like a late stage hedge against the failing digital management archive problems they got involved in.

Sky Branding and marketing, Associated Press London and Hogarth worldwide are all also settling on PPro. At this rate Adobe will figure they’re on a winner with subscriptions. so that’s great…

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[James Ewart]

I think we’re probably going full circle. Nobody will care too much what software anything is cut on apart from a few (entrenched) editors.

FCPX will slowly be taken up as with last time and will find its natural place.

How many years after the release of FCP1 was it before Cold Mountain? It’s the same story probably.

As predicted by many.

[Aindreas Gallagher]

[James Ewart] “How many years after the release of FCP1 was it before Cold Mountain? It’s the same story probably.

As predicted by many.
“

well, sort of – I think its a little risky to draw comparisons to FCP 1.0 – that was completely different software, made for different reasons by a quite different company nearly a decade and a half ago.

Apple may well not want, need or seek a cold mountain moment – its very extensible software tho – i had problems with some of his claims, but larry jordans entire presentation was designed to prove that point.

You could argue that the software that desperately wanted a cold mountain mountain moment, that lobbied for it and got it – is premiere pro. Joel and Ethan Coen have stated that they are cutting their next feature on premiere. Thats a Cold Mountain moment. Stone cold classic film makers, and two of the best editors on the planet endorsing an editing system that does not – up to that point, feature at that level of editing – that matches up pretty well to Murch and Cold mountain ten years ago. You couldn’t miss the sheer joy and pride on Al Mooney’s face when he spoke about meeting the Coens.

I think at a core level apple feel they have designed something that could execute a feature absolutely no problem – but features weren’t the problem they set out to answer – what drove everyone crazy was that apple answered a different question about media and where it’s going in the midterm. the first thing you think of, or that I think of, about FCPX, is that its an incredibly strong digital assets management system amongst other things. It feels largely designed to allow single operators handle staggering amounts of media and edit extremely swiftly and fluidly, and there’s no reason that description doesn’t match a features editor.

But if it doesn’t end up doing so in practise, I doubt apple are going to lose much sleep over it.

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics