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Creative Cloud
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Actually I think it’s a very valid comparison. Of course different software but the reaction to FCP 1 back in 1999 or so, was very similar to the reaction from the “professional community” (by which I mean the facilities houses in the main) to FCPX.
No not just similar. IDENTICAL.
But our friends in the states were more receptive to something “new” and “different” (as they always are) and slowly but surely… well you know the rest.
So if we can go from FCP 1.2 which nobody liked to FCP 7 which even The Mill use as their principal “editing” tool who is to say where we will be four years from now or less.
I certainly wouldn’t bet against it. Would you?
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[Charlie Austin] “Setting all the other pros and cons of X vs. other NLE’s aside, the biggest advantage of X to me as an editor is that essentially the only decision you have to make before performing an edit, is creative:”
This is one of the best descriptions of the process I have seen Charlie. It’s simple and I believe accurate.
When I’m working with X I’m not even really thinking about the software that much. I’m thinking about the story and how I’m gonna arrange it.
I’m thinking about the creative part, which is the fun part for me.
Even when I have to fix something (sound or look), which I consider the technical part I have not really had any problems doing that.
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[James Ewart] “No not just similar. IDENTICAL.”
ho ho – welll – ok. I was kind of around for that tho you know – I first cut on it at ver. 1.2.5 and convinced my then employer to bring it in as our editing system at ver3 on a blue and white G3 running an ice board for after effects with a 5gig lacie scsi drive – to this day that is the most treasured computer I’ve ever cut on. the whole thing was a dream and I fell in love with FCP instantly. As I seem to recall a lot of our type of people were very keen on FCP – the difference now, if there is any, is that the major debate is taking place within the very FCP community that grew up out of that era.
given the dynamic over a decade ago was quite different, its maybe a little hard to see things as being quite identical, mmm?
Still – As you say – its really only software in the end.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Oliver Peters] “I would add that the Coens also were cutting on FCP BEFORE Murch cut “Cold Mountain” on it. In fact their move gave him some confidence in proceeding.
“yep indeed – and also – after looking it up – Roger Avery with “The Rules of Attraction” in 2003 is cited as an inflection point too.
it lives on too, he said poking at wikipedia – John Carter mightn’t have been the greatest – but it was cut on an FCP timeline.
You’d be curious what the next fincher feature will be cut on. What those dudes Kirk Baxter and Angus Wall feel comfortable with say? – a tremendous amount of PPRo development seems to be hiving towards FCP behaviour lately – the blade tool is now specifically identical with the .1 release, matching FCP7 track patching, join edits, and god knows how much other stuff. the ppro team have nearly completely jettisoned the track patching logic which, to my limited understanding, was a partial match to an avid environment.
Its much more now an FCP live environment where the objects on the timeline and the selection of them and their track is the major decision. It’ll be interesting to see whether adobe can hoover up a serious quantity of editors by simply providing a formidably advanced FCP style environment. If everyone bleeds away to FCPX and avid in either direction then they are on a hiding to nothing. the legend wasn’t that great.
alternatively, if it becomes apparent that the software that held roughly 46% of the american editing market a few years ago was an intellectual sweet spot, and is effectively alive in Premiere Pro 7, is cross platform, being developed by a company that can only make money by selling it, and is being adopted by cutting edge top flight Hollywood Film Makers and Editors, well then you might think Premiere has a deservedly bright future.
Until that is, that 100 million dollar FCPX feature arrives and blows everything up. Larry Jordan is preparing a post, talk, and training series on that one I hear.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[tony west] “This is one of the best descriptions of the process I have seen Charlie. It’s simple and I believe accurate.”
Except I haven’t worried about my NLE in a while either. FCPX is not new in that regard.
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[Gary Huff] “Except I haven’t worried about my NLE in a while either. FCPX is not new in that regard.”
Before you cut something in to the timeline in your NLE, do you have to make sure that the correct audio tracks are included or not, and make sure you’re not going to overwrite existing clips in the timeline?
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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Charlie Austin] “Before you cut something in to the timeline in your NLE, do you have to make sure that the correct audio tracks are included or not, and make sure you’re not going to overwrite existing clips in the timeline?
“seriously – why is that a problem? I’m not even half kidding at this point. Given the natural presence of multiple detached objects that you don’t want to intersect – after effects can be a complicated environment – so can audio editing software – how much does it demand from a professionals brain to examine that?
why is it in editing that there is a guy that turns up on your doorstep saying “man wasn’t editing stupid hard??? what was up with that complexxxity??”
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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I don’t use FCX but I don’t necessarily have to worry about those things either. If I’m shuffling things around in Edius I can just stick the time line into tracks locked, ripple mode and everything will dance out of the way with no overwriting or clip collissions.
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[Charlie Austin] “Before you cut something in to the timeline in your NLE, do you have to make sure that the correct audio tracks are included or not,”
No.
[Charlie Austin] “and make sure you’re not going to overwrite existing clips in the timeline?”
Seriously, who has this problem?
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[Gary Huff] “No.”
Come on now Gary, you know you have to pick a track at some point.
That’s the whole argument over tracks and connected clips.
If they were exactly the same this forum wouldn’t be here.
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