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FCP X Colour Correction Pics?
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Every few days a new leak is sprouted showing another key feature.
Does this mean Audio is next? -
Looks like the new color balnce tools will probably misbehave with traditional control surfaces, being a multi point curve (though 3-way can still exist as a filter).
However… This tool looks perfect for an iPad app control surface 🙂
So… Are we back to assume color is R.I.P?
Hector Berrebi
prePost Consulting -
I think this does mean that COlor is RIP.
They are showing primaries, secodaries, davinci style power windows and a slew of CC tools. It looks like FCP’s COLOR room, within the application itself.
I did predict this a while back, that they would eliminate SEND TO commands and go with ROOM strcutures within the app itself.
I think there will be:
An editing room.
An Graphics room.
An Color Room
An Audio roomOne set of media for everything.
They will keep the functionality of being able to (VIA XML) go to any app you want (including color) but with 64 bit processing and maybe (32 bit float in FCP, and unlimited secondaries), why would you want to go to Color. I hope they have built in a pretty wicked tracker into that color corrector.
They are responding to the increasing need for the ‘editor” to be the “athour” of their work.
The next generation of editors will have an expanded skill set and this software will speak to the desire to do things from one application with one set of media, to eliminate or reduce the need for round tripping. .
I think this is all fantastic. Even the interface looks great. I don’t care if it looks like imovie. I don’t need it to be complex to be professional, I just need it to make the task of pulling images and media from various sources into a timeline which becomes a film. mY software is not the professional, I am. I’m not that attached to software tools, I just have preferences.
I think that Color and soundtrack will be EOL and the “ROOMS” structure within the one app will be FAR more powerful than the suite is now. Motion might stay as it’s own app, but with better round tripping support.
People will still use AE, DAVINCI and a host of other specialized apps but Apple have obviously created a very powerful “MEDIA AUTHORING TOOL” not just a piece of editing only software.
I can’t wait for this to arrive.
Apple invented the suite of apps and it took ten years for Adobe to catch up.
Now they have invented the next great idea in post.
There will be embracers and rejectors.
What type of person do you want to be?David
Why not do it today?
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I will definitely be an embracer.
I think there’s not a lot to complain at this point. All the so called “Hi-end” pros that are complaining are just afraid of competition and afraid that the little man will now have the same tools. So the “hi-end” people will maybe switch to Avid (now that they can because Avid HAD to bring their prices down because of Apple) and try to spread rumors that FCP is no longer professional so they can differentiate themselves from the “little-man”. They will spit on the same plate they ate not long ago when they couldn’t afford Avid and FCP offered them an option even when all the Avid guys were saying FCP wasn’t professional. Fear is a bitch.
But it will not last long. Once FCPX is out is will take the market by storm again and the naysayers will have to adjust and so will Avid and history will repeat itself.
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[Adam Claude Jones] “All the so called “Hi-end” pros that are complaining”
agreed…
there just isn’t that much real high-end work done as people on these boards often suggest.
most of post production work done worldwide is either for web, private distribution or TV, its shot on XDCAM, P2, DSLR, AVCHD and for the luckier few, Prores (and probably a few other formats).
in most cases footage is shot 8 bits 4:2:0, or 8 bits 4:2:2, and in most cases compressed.that is not high-end. and if FCPX takes good care of all of these formats… better, faster and smoother than FCP7 does today. we should all be very happy.
whoever think they do high-end using FCP7 are in most cases deluding themselves.
its not simple, neither cheep to run real high-end stuff on current FCP.
10 bits and higher, 4:4:4 or uncompressed are complicated to color manage, monitor, and keep color info intact within FCP
and that’s before overall stability of system and software
(unless you work with Prores 4×4, but that will probably work in FCPX too)there are other, better tools for the smaller percentage of high-end work. and especially there are operators, and professionals who know what to do, and how to do it with these tools.
FCP was never really a high-end tool… and its ok like that
just by being 64 bit, and having full color management FCPX is already more high-end than FCP7 ever was.
hector
Hector Berrebi
prePost Consulting -
[Hector berrebi] “10 bits and higher, 4:4:4 or uncompressed are complicated to color manage, monitor, and keep color info intact within FCP … just by being 64 bit, and having full color management FCPX is already more high-end than FCP7 ever was.”
I absolutely agree with this. Color management and floating-point processing have been long, long overdue. I’d add that these are finishing features, though, and all the high-end workflows you referred to start in offline, where FCP has been a contender.
FCP could never have been considered a proper finishing tool before. I’m very curious to see if FCPX’s new feature set will change this. Hopefully Apple will also get color and gamma handling straightened out in QuickTime in future releases, too, so that QuickTime can be relied on across an entire pipeline.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Walter Soyka] ” I’d add that these are finishing features, though, and all the high-end workflows you referred to start in offline, where FCP has been a contender.”
If FCPX can’t do proper offline it will be very bad… I don’t even consider it a possibility… Not before I see it.
I was only referring to people’s issues with “high end” 🙂Hector Berrebi
prePost Consulting -
[Victor Perez] “Like the Hue, Saturation & Luma Curves in Apple Color, this can be very powerful color tool inside FCP.”
Agreed — but this just looks to me like a new layout for standard color wheel controls. The secondary curves in Color are based on hue and controlled with splines, but I can’t see anything here that suggests this is how the new controls work.
Of course, I could be wrong!
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
In order for FCP X to be really make an impact in editorial it needed a huge overhaul in trimming, where I always felt it was weak and forced a different style than editing with AVID (which was a very fast trimmer.
FCP is fast for breaking down the marble block but not as good at the detailed edits as AVID (was, and I mean was).
I think the magnetic timeline and the trimming features I saw in the demo are what makes it very exciting as an editing application.
If they have reinvented trimming the way I think they have, like being able to see either side of an edit, then we are talking about a VERY fast offline editorial tool.
To me, that is the kind of “new” i want to see.
Source/Record windows are dead to me, it represents linear thinking in a non linear spacious environment.
David
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Believe me. Everything is a lie. -
Apple invented the suite of apps and it took ten years for Adobe to catch up.
Now they have invented the next great idea in post.Source/Record windows are dead to me, it represents linear thinking in a non linear spacious environment.
Looks like more people should look at Autodesk Smoke. It has had integrated tools and a single viewer interface for years.
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