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FCP/ Avid/ Premier for doc post producion houses?
Ok, here is my story…
I basically made a rough documentary on Sony Vegas, but I clearly need professional help to finish the edit.
To my dismay, I could not find any decent/professional documentary editors in London who use Vegas. They were not particularly interested in trying to export across to their platforms either, understandably.
I have decided to take the leap and get a Mac, with the idea that I will reconstruct the docu and import the media into FCPX, as this is what one of the editors who I approached said he used, and for some silly reason I thought FCP was the industry standard. Oh how I was wrong.
Anyway…I would like to know out of the three platforms, FCPX / AVID / adobe, which one would be the easiest to get a professional documentary editor in london to work with. Again, Im not so concerned about the pros and cons, just which one is most prevalent amongst post production houses in london.
Many Thanks!
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45 Replies
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[james henson] “.I would like to know out of the three platforms, FCPX / AVID / adobe, which one would be the easiest to get a professional documentary editor in london to work with.”
I would think London would be comparable to NY, and here the answer would be Avid or FCP7. That’s Final Cut Pro with a 7 at the end of it, not an X. Not saying these are the best solutions, just the easiest to find editors for.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Most “post-houses” (i.e. facilities where edit suites and editors are hired out) are Avid. They’re also mostly Windows based (in my experience).
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Probably would choose Avid or Premiere Pro, both are cross platform. It looks like FCP X is starting to gain ground in some post houses but Avid seems to be preferred the most, just an observation.
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You will find plenty of FCP X editors in London, if this really is the intention of your post. Drop an e-mail to nick (at) nickwatson (dot) net. He has edited some great documentaries for the BBC using FCP X. He might help you out himself, or he will definitely know someone who can.
– Ronny
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Can’t speak for London…only Los Angeles. Avid is the leader on doc work…followed by the discontinued (3.5 years ago discontinued) FCP 7. FCX is barely noticable…and Adobe Premiere is making some inroads…but it’s slow. Avid is the main player.
In Los Angeles…
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
True, but I’d think if one is looking for the ability to update the project easily in the future then I’d shy away from FCP 7 since it’s been discontinued for quite some time and there really isn’t a clean easy way to port the project to a modern system. And if you already have an edit with mixed codecs and media, that’s going to be an additional hassle with FCP 7. Go with Avid, Premiere or FCP X.
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[Bret Williams] ” Go with Avid, Premiere or FCP X.”
He’s looking for experienced doc editors. He’s already stated that he was unable to find those with FCPX experience. My guess is it will be equally hard to find those with Ppro experience. FCP7 is dead, but it’s zombie half life seems to be that of Strontium 90 and there are many experienced FCP Legacy Doc editors to choose from. Avid would be the safest bet, but Legacy would meet more of his criteria than either Ppro or X.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
Since you are open to switching to any NLE, why not find an editor you think is a great fit for the project and let them decide which NLE to use?
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[Andrew Kimery] “why not find an editor you think is a great fit for the project and let them decide which NLE to use?”
My exact thought also. 😀
How is it you’re looking for AN NLE and not just simply a qualified editor? The choice of NLE will pretty much decide itself, no? Sounds like Ronny gave you a good place to start, too.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
Agreed. Just thought one should be aware that if you want your Doc to have some sort of longevity, 7 is a dead end. Especially if you do anything more complex than cuts and dissolves. Any titles, color correction, sound, or compositing will be lost. And if you’ve ever tried to port something from X to 7 with mixed media or frame rates, well, its not ideal. And in NTSC land, since X can’t properly deal with 24p in a 1080i sequence there were problems years ago. But if the project is PAL and all ProRes it’ll probably convert over to 7 without a hitch.
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