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FCP-X timeline
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The beginning of the presentation of FCP-X Apple made a big point about the high end professional market users of FCP, Coen brothers etc. They absolutely have to make Final Cut Pro the best and most professional application out there for professionals, and the cheapest.
Why? Because it’s “the professional’s choice” label that is their biggest marketing tool – so that the wannabe users can feel like they are professionals because they use it. They also have to make it affordable for their most profitable market – everybody – otherwise iMovie would suffice, especially at the price.
I’m sure they’ve thought long and hard professional workflows and what professionals want. I suspect that things like auto white balance on import etc. are selectable, but it doesn’t mean the product is not “pro”.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
[Craig Shields] “I wouldn’t be so quick to call someone a Fan Boy because they can see the value in something you can not.”
No, I called people fan boys for being under the influence of the Reality Distortion Field and ‘thumbing down’ legitimate dissenting opinions and flaming those that would be skeptical of the all mighty Apple.
And the things I think are of most questionable value are:
– Non destructive color balance on ingest
– Stabilization on ingest
– Audio cleanup on ingest
– One click to match color between clipsIf material is properly shot in the first place, these features are superfluous.
Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
The thing is, if the tracks aren’t right there on the main interface where you can see them, what good is it to be able to assign clips to specific tracks in the background? This is key timeline information, and it clearly isn’t there.
Maybe they have an “old style” button that switches back to a more functional interface.
I must apologize. Mark and I are old EDITors, and frankly we were spoiled by it’s simple beauty.
Murdered by Autodesk and Apple ten years ago, and still I pine.
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To clarify that last statement: Apple strangled it, and Autodesk stabbed it in the heart.
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Reality Distortion Field? Hmmm… did you make that up yourself? Of course not, you heard it from someone else and decided to regurgitate. How about Fan Boy? Nope, every 15 year old with a PC has used that to dismiss the views of others. The fact is, you must live in a distortion field if all the footage you get is properly shot. You are the one that introduced the flame junior, not me.
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I’m with you Eric. I can’t see that letting an application decide what tracks you have various material on is helpful. I use FCP to finish so having all supers and text elements on specific tracks is important. This glimpse release is showing an editing tool which is perhaps less suited to finishing but may be really nice and fast to edit with.
The promising thing is the fact that it is a new build, 64 bit and is sorting some fundamental workflow problems. The look is nice. I have always argued for darker skins on every audio edit system I have used. Combined with dedicated controllers, I find long days of editing are easiest with proper ergonomics and darker screens. FCP’s current look is not good. I mostly work in Color and love the darker interface. This new timeline look has promise.
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[Phil Balsdon] “The beginning of the presentation of FCP-X Apple made a big point about the high end professional market users of FCP, Coen brothers etc. They absolutely have to make Final Cut Pro the best and most professional application out there for professionals, and the cheapest.”
But remember this is the same Apple that has continuously pushed nesting, which doesn’t work as advertised. Roundtripping to Color and STP, which doesn’t work as advertised. Media Manger which is convoluted and doesn’t work as advertised. And this is the same Apple whose upgrade instructions are wrong and those that follow them end up with a ‘crash-o-matic’ system.
When I here Apple talk, all I hear is ‘Charlie Brown’s Teacher’, wot, wot wot.
They had a room full of professional users, and didn’t have a Q&A.
What does that tell you?
This may be a great product, or a dud. But I’m not going to take Apple’s word that it’s great.
We’ll see what the first couple of months on the forums are like after the release.Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
Wow. You really told me.
Don’t forget the Caps Lock next time.Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
[Michael Gissing] “The promising thing is the fact that it is a new build, 64 bit and is sorting some fundamental workflow problems. The look is nice. I have always argued for darker skins on every audio edit system I have used. Combined with dedicated controllers, I find long days of editing are easiest with proper ergonomics and darker screens. FCP’s current look is not good. I mostly work in Color and love the darker interface. This new timeline look has promise.”
It will be interesting to see how much problem this new build will be for plugins, and controllers.
I’m with you on the dark interface. I’m not a fan of the node, at least not for editing. It would be nice to have a choice of traditional UI, and/or light dark.Scott Sheriff
Director
https://www.sstdigitalmedia.comI have a system, it has stuff in it, and stuff hooked to it. I have a camera, it can record stuff. I read the manuals, and know how to use this stuff and lots of other stuff too.
You should be suitably impressed… -
This is very confusing for me, too. I require seeing the clip’s audio in the timeline at all times. Visually, I like to see the audio under the incoming edit or visa-versa (j-cuts and L-cuts). The demo showed that you can adjust things that are out of sync in one of those video/audio combo clips by going into a new window and adjusting it there. This is really a break from mode-free editing if you have to go into a separate window to do or see something.
And how does it work for audio on other tracks? It seems very convoluted.
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