FCP Legend/FCP 10/Personal Use/Facility Use

[Rafael Amador]

[Chad Brewer] “There aren’t that many feature upgrades between 6.0 and 6.0.6,”
Not operational features, Chad, but all the XDCAM supports comes from FC.6.2 on. So if you can’t update you are missing support for one of the most widespread Broadcast formats (the format that SONY developed to substitute BETACAM).
But is it true that is not possible to update with “Software update”?
Incredible.
rafael

http://www.nagavideo.com

[Mathieu Ghekiere]

If you are on Mountain Lion, look for the update in Apple’s archives, you can find it online, Pro-Apps updates.
Then download and install it manually.

[Rafael Amador]

[Mathieu Ghekiere] ” look for the update in Apple’s archives, you can find it online, Pro-Apps updates. “
The Pro App Updates are not anymore available for manually download;
https://forums.creativecow.net/thread/8/1170421#1170425
rafael

http://www.nagavideo.com

[Craig Seeman]

[Chad Brewer] “I find it ironic that Adobe is supporting a free upgrade for a CS2 product right now for existing customers, where Apple will not allow me to update my home edit from 6.0 to 6.0.6 as of today. “

Adobe sells software. Apple sells hardware. Apple wants you to buy a new computer. Adobe wants you to eventually upgrade your software. They’re different business models.

[Chad Brewer]

[Craig Seeman] “Adobe sells software. Apple sells hardware. Apple wants you to buy a new computer. Adobe wants you to eventually upgrade your software. They’re different business models.”

True, but regardless of whether the product is software, hardware, or fresh cantaloupe, the common denominator of different business models is existence by having customers. Doesn’t matter “what” they’re buying, it’s that you need to satisfy them in whatever way to buy whatever “it” is.

For all I know these days, robots are purchasing things online directly from computers and having them uploaded to their cloud, which would of course alter our ideas about business models all together.

Chad Brewer
Senior Videotape Operator
TeleVersions, LLC – Chicago

[Craig Seeman]

[Chad Brewer] “the common denominator of different business models is existence by having customers.”

Some would say it’s revenue. Customer is someone who buys something. Someone on FCP6 didn’t pay for FCP7 and may not buy a new Mac to run 6 on.

The question is, is a future customer being alienated?
Someone using CS2 probably has a good likelihood of getting CS6 or a later version at some point.
Someone still on FCP6 may well fall into the category of “already looking elsewhere” for both an NLE and a possible move to Windows. I’m not sure if giving them an update to 6.0.6 encourages them to get a new Mac.

I’m not saying I like Apple’s policy but I do think I understand their business model.

I actually think that people’s ability to update the GPU on 2006-2008 MacPros to run FCPX hurt them. Radeon 5770 isn’t officially supported pre 2010 (2009 GPU is supported). FCPX though, much to Apple’s detriment, wasn’t exactly a motivator for new system purchases for a time. At this point, fans of it, are moving to BTO iMacs but there’s an issue with the iMac supply chain and the MacPro replacement is not on the table yet.

[Keith Koby]

There are better tools available for capturing and organizing materials from tape than fcp7. There are free ones too that come with your capture devices.

If you haven’t detected a switch to digital delivery since the tsunami that affected Japan 2 years ago, then you certainly are working a lot in archival materials. We have been receiving HD feature length films as prores via aspera quicker than fedex for nearly two years now and lower bit rate mezzanines going back 5 years now.

Last year we stopped delivering promos on tape. We are done buying lots of video tape. LTO tape on the other hand we buy a lot of. But even that model is changing. All of this material is delivered over the internet and soon even big facilities with lots of video assets will be backing up offsite over the internet. It happens a lot already.

Yeah we still receive some materials on hdcam and digibeta. FCP 4- 7 and maybe before was great at letting you organize material in a capture scratch after capturing and then editing. It was a great app for the last, what, 10 years? What is exciting about fcpx is that it is a tool that has useful features and tons of potential for the next 10 years or so.

I can understand your hesitation to part with old familiar workflows, but you need to look at the reality of the situation.

Keith Koby
Sr. Director Post-Production Engineering
iNDEMAND
Howard TV!/Movies On Demand/iNDEMAND Pay-Per-View/iNDEMAND 3D

[Craig Seeman]

I don’t think FCPX losses that much with regards to tape.
If you’re ingesting with AJA or Blackmagic devices they have very capable tape handling.
While you don’t have tape out from FCPX, going to ProRes and putting in the above I/O devices works just fine. What one losses by not going out from the timeline is the ability to do an insert edit, something I remember dreading anyway… even from Avid. Also batch capturing a timeline also isn’t possible but there really shouldn’t be a need for that except for older projects. Even if using tape sources it may make for sense to archive the ingested file.

On the whole, tape is still viable with FCPX as long as you don’t mind the lose of insert editing back to tape.

[Lance Bachelder]

Yeah totally concur – sometimes I feel the only reason tape delivery still exists is because guys who are still running G5’s refuse to give it up. I’ve delivered my last feature (90min.) via FTP in both HD and SD to various buyers as far away as Finland days quicker than courier. When FTP doesn’t work we send a Pro RES file along with stems and key art on a USB drive – we will not send tape unless the client pays for it – amazing how many will give in and take a drive instead of paying hundreds for an SR.

Lance Bachelder
Writer, Editor, Director
Irvine, California

[Chad Brewer]

[Keith Koby] “There are better tools available for capturing and organizing materials from tape than fcp7. There are free ones too that come with your capture devices.”

Yeah, they are used here all the time as well.

[Keith Koby] “If you haven’t detected a switch to digital delivery since the tsunami that affected Japan 2 years ago, then you certainly are working a lot in archival materials.”

It’s been a huge switch to digital delivery…For many years now and we’ve been on every wave of it…Working with lots of archival materials? But of course…What was the video storage/recording medium for the past 30 years? Brand new, created this morning type content still goes out on tape every day though. Digital delivery outweighs our tape delivery these days, no doubt, but tapes are around and will be for some time. That’s all my point was. Networks still demand it because for now, it’s the best way to limit the plethora of technical variables involved in video.

[Keith Koby] ” All of this material is delivered over the internet and soon even big facilities with lots of video assets will be backing up offsite over the internet. It happens a lot already.”

Back-up and delivery via the internet are two different situations at this point. Please upload a 4:4:4 RGB, feature length film with 12 channels of audio to Paris for a film festival this Friday. Good luck.

[Keith Koby] ” What is exciting about fcpx is that it is a tool that has useful features and tons of potential for the next 10 years or so.”

Agreed. It is exciting to see something new with years of potential and room for growth.

[Keith Koby] “I can understand your hesitation to part with old familiar workflows, but you need to look at the reality of the situation.”

No hesitation at all, nor any adherence to old workflows. I develop new digital and videotape based workflows on a daily basis in a high demand broadcast environment. And to your last comment, I don’t need to “look at the reality” of the situation.” I live in the situation.

Chad Brewer
Senior Videotape Operator
TeleVersions, LLC – Chicago