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FCP 10.1.2 Where are you?
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[Richard Herd] “Just sayin’. X gotta compete.”
I’m all for it.
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Then of course there’s this…
Ah, now THAT’s refreshingly organized and professional looking.
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[Franz Bieberkopf] “I’m not warm to Adobe’s distinction (or implementation in two panels) if that is what you mean.”
I’m not sure what else you would have us do. Premiere Pro’s track based mixer was designed by an engineer who also happens to be a musician and as a result is a tracks-based (ala ProTools or audio DAW) mixer. When lots of FCP7 type users and Avid users cried out for an audio mixer they were used to, we delivered the Clip Mixer. Choice is good and understanding how the two are different gives the user more ability.
Not sure what you would have had us do to make customers from both schools of thought happy?
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[Franz Bieberkopf] “[Marcus Moore] “… I think people have an over inflated sense of the size of our industry.”
Marcus,
Agreed. And this concedes the point that FCP X competes for users in “our industry”.”
I still think it’s interesting that manufactures think X competes for “our industry”
I keep seeing it in ads like this when they could have chose any other NLE
Who is the CION aimed at?
I think they know something
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[Dennis Radeke] “Premiere Pro’s … is a tracks-based (ala ProTools or audio DAW) mixer.”
Dennis,
In ProTools, to take one example, volume graphing (and other automation) moves with clips.
Franz.
Edit: To be clear, I’m not against 2 modes of mixer, but firstly I don’t see how this was modeled after ProTools; secondly, I don’t understand why there are two slightly different graphic and function implementations. It seems to me a simple “mode toggle” on the mixer would be more elegant.
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[tony west] “Who is the CION aimed at?”
CION is aimed at the uppermost tier of this industry. It lacks ENG features and requires very expensive glass. It is geared to film DPs. A fraction of the amount of X users will ever come close to a CION.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “CION is aimed at the uppermost tier of this industry.”
I’m not sure I understand your thinking on this. It seems to be lower priced than the higher end RED, Arri and Sony cameras used in features. I would think it’s much more of a mid priced camera. Granted it needs some pricy add ons (doesn’t come with view finder for example) but it doesn’t seem that it would cost anywhere near “uppermost tier.”
[Oliver Peters] “It lacks ENG features “
Maybe so but it felt very comfortable on my shoulder. I could see it being used in Docs and Reality TV.
While it comes with PL Mount, I understand that’s removable to allow for third party lens mounts for other lens types so one wouldn’t be limited to PL glass.
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[Oliver Peters] “A fraction of the amount of X users will ever come close to a CION.”
They must think CION users may cut on X
That’s why they put it in that ad
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[tony west] “They must think CION users will may cut on X
That’s why they put it in that ad”
There are certainly X users who cut RED and Arri footage. Granted that might not be a big portion of X users but I’m not sure if the bulk of Premier Pro users are doing that either.
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[Craig Seeman] “I’m not sure I understand your thinking on this. It seems to be lower priced than the higher end RED, Arri and Sony cameras used in features. I would think it’s much more of a mid priced camera.”
My point is merely that to play in this area, the cost of the camera body is frequently the smallest issue. For example, an ARRI AMIRA starts at 25K Euros, but to get a decent package in the US is over $60K with camera options. Then add 10s of K’s for lenses. The same person who buys a Panasonic 250 or a Canon 7D probably isn’t the customer for the CION, even if the body cost $0.
OTOH, if you’ve already invested in a C300, for instance, and have the right pieces and glass, then adding a CION to the arsenal for 4K work might not be a big stretch.
In any case, I see absolutely no correlation between CION and FCP X. It makes no sense, because “inexpensive” does not equal “ubiquitous”. So what if it generates ProRes and is easy to edit with FCP X? The same can be said if you cut with Premiere Pro CC or for that matter Media Composer and eventually Resolve 11.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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