-
FCP X 10.1.2 released…
-
No offence taken.
Just pointing out that what was once a bastion of technical excellence has (for whatever reason) largely ignored FCPX. Of course I understand the UK is not the centre of the world when it comes to film making and the creative industry (far from it).
I am FCPX all the way.
But it may be interesting to users in other places in the World that the BBC has, to my knowledge, only one working FCPX work station that is operational for broadcast use in its entire facility base. And, much as I do not know why, there may be a reason for that.
I decided to bite the bullet and learn FCPX from the ground up because I reasoned Apple were not idiots. I am pleased I did.
I just wonder why the BBC and other broadcasters have not also followed suit. It has a stigma maybe?
What US, European, Chine or Japanese broadcasters have adopted FCPX and if not … why not?
-
Robin & James – I think you’re both right.
You should see the looks I get here in Hollyweird when I say I’m using FCPX. I use Avid or FCP Legacy in every single gig I take at the network or at a promo or post house. Their gig, their equipment, their rules. (One post house I know switched to PrPro to accommodate an animation-heavy show that is no longer in production.)
But I use X for my own projects (currently a movie and a documentary) because I took the plunge when it launched and I really like the program.
I know of very few people here using X. But then these same people are typically using a version of Avid that is at least 5 or 6 years old on hardware that is at least 4 or 5 years out of date. Hollywood editors HATE to change anything. And it’s not just video. Good luck finding a current version of ProTools at any major audio post facility here in town (at least the ones that are left, what with Todd-AO closing down). They’re all 1 or 2 versions behind.
Because no one wants to take a risk on anything. Too much money at stake. New software = bugs/confusion = downtime = lost money = angry clients who barely understand the technology of their chosen business in the first place.
So yes, Hollywood (and by extension NY, London, etc.) is but a small percentage of the worldwide market for NLEs and the like. But it throws around its weight way out of proportion to its numbers. Remember, no one ever got fired for choosing IBM.
-
Hi thanks Craig. Trouble is the Original Media go in with it. No option for leaving Original Media in place. Or am I mssing something.
Regards
James
-
You’re missing something. 😉 Or rather you’re confusing the options. Whether your media is left in place or copied into the library where the event resides is decided UPON IMPORT in the import window.
The library properties (⌃⌘J) is where you can decide on where everything else goes OR change their location by defining a new directory (or simply the library itself) and consolidating. So if you e.g. copied your media to the library but want them elsewhere later, simply set that location in the library properties and hit consolidate. Yes, in THAT case everything (optimized and proxy) go with it. Which is why you need to know what and where when you import.
-
[James Ewart] “What […] broadcasters have adopted FCPX”
Like I said, The E. W. Scripps Company would be the most recent example: https://www.apple.com/final-cut-pro/in-action/scripps/
Or Azteca, “one of Mexico’s leading broadcasters and its second-largest mass media company”: https://www.apple.com/final-cut-pro/in-action/azteca/
And as far as the BBC is concerned, FCP X may not be used BY them so much, but it sure is being used FOR them: https://www.fcp.co/final-cut-pro/news/1140-using-final-cut-pro-x-to-edit-a-documentary-for-the-bbc
In fact, I think that the really BIG broadcasters are the *worst* possible example to follow, no matter what area we’re talking about. Because they are obviously the ones to move the slowest by far. They themselves follow the masses in the end, but don’t innovate or really decide much on their own. They may STEER a little, yes. Primarily due to their size (and buying power). But again, I don’t see them as any measure for *the masses* that ultimately decide on the success or failure of products. Change, even the slightest bit, is a HUGE thing for them. Not done easily, quickly or gladly. The biggest public broadcasters here in Germany (a lá BBC) that I deal with on a regular basis still master most of their stuff TO TAPE! Nuff said. 😉
I personally think it’s the schools and the SMALL and newer production companies and independents that one needs to measure any success by, and that over time. And I see FCP X a LOT in those areas. Maybe not exclusively and maybe not everywhere, but the numbers are growing quite steadily. It’s both technically AND economically the perfect product for them. And now that the initial vitriol and ad hominem rants over the release are dying down to just a whisper, more and more are warming up to it. (I teach on the side and media academies and training certers I work for have been *increasing* their request for FCP X training quite noticeably over the last 6-12 months)
I personally believe that history will repeat itself as far as FCP is concerned. As with legacy FCP (which was also VERY poorly received in its beginning, don’t forget that, and didn’t even have audio meters etc. for the first few versions), X just needs its time to mature and sink in, in part because it’s also as much a slap in the face to the status quo as I recall 1.0 was, and them there “pros” do not take kindly to that! 😉
We’ll see. I guess I’m just lucky that I’m the boss here and don’t have to cater to other people’s beliefs and misconceptions, but can choose what fits me best.
-
I think you’re probably right. I hope so too. I
-
Thank you.
And yes it’s because when importing for camera cards it does not give the option to Leave Files in Place. I would kind of like to tell it to put the Original Media in one place and the Proxies in the Library but no big deal and maybe that would get too confusing anyway.
-
Erm… it doesn’t give you that option because why in the world would you want to leave the material on the camera/card?? Aside from of course being horribly SLOW, the moment you removed it, everything would (obviously) go offline. That’s a “protecting you from yourself” feature.
But again… you CAN theoretically do what you want. Set your import folder, import the footage, then simply switch back to the library before generating any optimized, proxy and/or render media. Whether there is sense in extending the storage options to include additional options for each folder (to avoid the switch) is debatable. But who knows what the next update will bring.
But the whole point is to make collaborative editing that much better. In which case if e.g. you and someone else were to work off of the same original material or even the same project as a whole, but both had their own optimized and/or proxy media LOCALLY that only either or could access, that would make things an unnecessary mess. If it even worked to begin with. From that perspective it makes total sense to do it the way they are doing it, to avoid unnecessary issues.
-
Of course I understand why it would be a bit silly to be able leave stuff ‘in place” on the card. Much as it may not be apparent to you, I am not a complete moron.
I just would like to be able to pick from the start where my media goes rather than a two step process which is what i am doing as we speak.
No big deal.
Thanks for the feedback.
-
[James Ewart] “I am not a complete moron.”
I was in no way suggesting that. But the fact is, you said
[James Ewart] “when importing for camera cards it does not give the option to Leave Files in Place”
… which can only lead one to think that is what it is you want to do, no?
In any case, no, you can’t do what it is you want without copying the material from the camera/card to disk first in some way, shape or form before importing. Or switching half way. But seeing that you’re not a moron, I take it you’ve understood that now. 😉
Reply to this Discussion! Login or Sign Up