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FCP X can’t do “pro” is officially vaporized.
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[Bill Davis] “Subscribers? Meh. Folks can get subscribers by dressing up cats. “
One post ago you brought up Michelle Phan (makeup demos) and PewDiePie (plays video games & gives questionably humorous running commentary) as examples of people who apparently have insight into the video industry due to their massive YouTube success (i.e. the amount of subscribers and views they’ve racked up) but now you are saying subscriber numbers aren’t relevant?
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[Andrew Kimery] ” also risky because as a web series coming from them this would most be a slam dunk but going the feature route introduces a lot more uncertainty.
“If they decide to four wall, what’s really helped me take the risk out is to pick up a sponsor or two.
Since my film is about nuclear workers I have two groups that help workers that have gotten behind me.
I also have a environmental group.
Maybe have them look at their subject and see who would want to back them.
Have those DVD’s ready to sell after. That$ huge. or you-uge: )
The biggest challenge is dealing with chain theaters that make it hard for independent films to do basic business.
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[Andrew Kimery] “That seems excessively cautious.”
Well, I can only relay what I was told and what I experienced myself. Mind you, they have massive amounts of external hardware as well. So this is not about just installing an app or two. Meaning all kinds of drivers, cards and what not need to work along side as well. That’s where it gets tricky. The biggest issue being that if you installed something for A, B would suddenly not be able to access C or D without a restart, reinstall, whatever. Stuff like that. And Avid was apparently always identified as the culprit, which, again, is why they moved them into their own “safe” space by themselves. WORST part being that Avid was and is always by far the furthest behind as far as “qualifying” their systems for newer OS X versions and/or certain drivers. So again, all other apps suffered while you waited.
All I know is that a huge sigh of relief went through various levels when Avid was taken from the list of requirements. Aside from the fact that none of the students ever used Avid when given the choice. Nor do any of their employers use one, aside from maybe a few scattered installs kept for legacy project reasons.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Neil Goodman] “Havent had an Avid crash or ISIS hiccup in about a year. FCP X has gone poof on me a few times and PPro is somewhat flakey (audio dropouts mostly) on a few systems ive triedit on.”
Which ironically pretty much makes my point and mirrors our exact experience, yes. Once (if) you got Avid up and running smoothly, you suddenly had all sorts of other issues elsewhere. Flakiness etc. just as you describe. And yes, after many many years of dealing with this, once things were separated everyone suddenly purred right along (e.g. FCP hasn’t crashed in well over a year). But, as I said, it simply wasn’t feasible to park all kinds of hardware off to one side JUST for the Avids, which no one wanted to use anyway when given the choice (in part due to the constant headaches and instabilities… but mostly because they find the interface and handling unintuitive and confusing in comparison. Oh, and because we shoot in 4, 5, and even an occasional 6K.). They were partly older versions, too, since no one dared touch them once they were up. The trusty adage of “If it ain’t broke…” was number one. The other machines, in comparison, were maintained regularly without any issues worth mentioning. Again, YMMV.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Neil Goodman] “Havent had an Avid crash or ISIS hiccup in about a year.”
Now you’ve done it! 🙂
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Steve Connor] “So one moderately successful YouTuber using FCPX is “Killin it”?”
Sure.
Light Jazz isn’t nearly as popular as Pop. But even if you don’t care at all for his music, I bet Kenny G can grab a clarinet and stop a room in it’s tracks via expertise.
Same same.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Andrew Kimery] “YouTube success (i.e. the amount of subscribers and views they’ve racked up) but now you are saying subscriber numbers aren’t relevant?”
I NEVER said they weren’t relevant. Their relevance to the discussion of changing markets and modes of video influence is PRECISELY why I referenced them in my original post.
My follow up was a commentary on how despite the success of those folk in generating massive numbers of views – neither one resonates with me SPECIFICALLY as someone who might have insight into the utility of EDITING software.
Marques Brownlee on the other hand, has influence specifically in modern communications TECHNOLOGY. Including the use of items like laptops and modern cel phones – things now moving into the CENTER of the global video production game.
So I think he’s a more credible cite when discussing the utility of modern NLEs to produce stuff like YouTube content.
You are, of course, perfectly free to disagree.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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Well, I dunno, guys.
I’ve been working on FCPX for well over year now, doing a lot of television shows. But I find FCPX a true minefield when it comes things like synchronising audio, where some things mysteriously don’t work in particular clips, the whole export to AAF audio post production is causing a lot of editors I work with sever headaches, figuring out how to work with third party software, sound editors going berserk over the excessive amount of audio tracks getting handed over to them through X2Pro (where often left and right channels of music are like 15 tracks apart).
It seems to me everything we need rig something a little special FCPX should officially be able to do, it’s like opening Pandora’s Box… a lot weird stuff happens.
But for me, the biggest bother of working on FCPX is still its performance. I work on a Mac Pro trashcan, using only thunderbolt external hard drives, having my libraries and chase on my internal SSD harddrive… working only with Apple Pro Res encoded footage… but as soon as a Library gets a little bigger (I do a lot of 5-6 parts series of 30 minutes where I work on them in one Library, because I need all the footage for all of it) it gets slower. And by that I mean with every new project (timeline) I make (using duplicates for each new version of the cut) it gets slower. When there are a few more layers or a larger number of graphics (like name titles, borders etc.) it gets slower.
And with every duplicate, copy or change to say, a synchronised clip, I get that bloody beach ball again.
Two weeks ago I got the chance to work on AVID again. And after my first cut I duplicated the sequence for a new version after changes from my client. And really, I thought it died on me. It didn’t do anything… or so I thought. After a closer look the duplicate sequence was there, duplicated AND in the timeline window. IT duplicated so fast, like in the blink of an eye, I just wasn’t used to that kind of speed anymore.When I do stuff like that on FCPX the beach ball is telling me FCPX is working on it. I’ve gotten used to the delayed response of FCPX…
So no… I work on it every day. But it means looking at beach balls a lot. And a lot of editors I work complain about its slowness, it sloppy programming (why does the graphic display of audio levels in the timeline differ when you change zoom? why does the timeline graphic in the browser not fit the place of audio when you go to the end of the clip? why does it miss a couple of frames when you select a larger number of clips in the timeline…).
I see the harm of FCPX and I know a lot of you guys enjoy the hell out of it. But frankly… I don’t see it.
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I meant: “I see the CHARM of FCPX…”
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[Bill Davis] “My follow up was a commentary on how despite the success of those folk in generating massive numbers of views – neither one resonates with me SPECIFICALLY as someone who might have insight into the utility of EDITING software.
.
.
.
So I think he’s a more credible cite when discussing the utility of modern NLEs to produce stuff like YouTube content. “The switching of gears is what lost me but I get what you are saying now.
[Bill Davis] “You are, of course, perfectly free to disagree.”
Me, disagree with you, never! 😉
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