FCP7 is dead. Why can’t there be a new FCP7?

[David Mathis]

Thank you. Have been interested in learning it myself, curious about the export features. Looks very solid as you say. Been watching a few YouTube videos on it and seems to have fairly mild learning curve.

[Richard Herd]

I’m over it.

[Aindreas Gallagher]

it is getting crazy powerful though. even the fact that you have speedgrade looks you can bang on an adjustment layer isn’t something I’ve played with much until recently. The fact that there’s a half unloved but pretty world class grading system just sitting there waiting to take the timeline natively, or adjust the look is kind of bananas – also the AE integration is surprisingly useful? – to me at any rate.

I never used AE links, bar xml edit import because I never used PPro, but it sings pretty well, although I’ve developed a habit of duping and disabling the clip before I do the link – although that ends with the next update that can roll back to the edit item. Also that clip mixer – I guess you’ve got inspector level muting control that can propagate across the timeline – but the clip mixer is a big step up from tabbing audio channels in 7.

Also the animation and keyframing drop kicks FCPX out of the room. Seriously – keyframing has to be one of X’s weakest features.

Also its ability to chug any motley mix of 1080p h264 for corporate or broadcast internal like its pro res – right up to gel colour solids and screen mode 2K effects plates, alphas and blurs on a 2012 stacked mbp in realtime is something I’m still getting my head around?
You can do a serious amount of compositing and type work in ppro really. full feathered bezier masks with tracking means dodge and burn natively on the timeline. that’s huge really. I know you can sort of work that in X – but again that entire ppro initial grading masking work assembly can move transparently to AE for final finishing.

I think a lot of people are going to start investigating best practise for combined craft workflows with editing design and grading in ppro with the other linked apps – as in they are already – I personally feel ppro is likely to become extremely attractive for some parts of the market once sets of best practise workflows start to get shaped in small to medium design and production houses – and become commonly known.

You’d be thinking for pitching, commercials – I mean it’s a great editor anyway, but parts of it feel just begging for pretty new cross disciplinary edit workflows?

https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics

[Shawn Miller]

[Oliver Peters] “I would say that doing a brand new professional-grade NLE from scratch (not modifying a currently working product) would take 3-5 years, before you’d have a solid product. That’s with a brilliant set of coders on board.”

Well, yeah… brilliant developers (UX, XD, etc.)… and testers… and project managers… and PMO person(s)… and support… and documentation… IOW, a really dedicated team of folks who know how to design, build, test, support and market software. It’s a tough, tough business in a market with demanding users that (increasingly) expect world class software at a very low price points. (Warning, rhetoric ahead) Who would (or can) pay millions of dollars to develop a product that has to compete with really good, cheap, and or free products?

Shawn

[Shane Ross]

Can’t help but notice that the OP has yet to come back and reply. Seems like a troll stirring the pot needlessly.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[James Ewart]

My FCP7 is running fine on a sacrificial machine running Yosemite Beta incidentally. Are the updates still available online if you install from disk out of interest?

The UK and London in particular were about the last people in the world to adopt FCP Legacy. (Slated for years as unprofessional by the Avid community until one day suddenly everyone was using it). Very conservative market with many creatives and producers not really up to speed with the idiosyncrasies of the various NLEs. They just believe what they hear from Avid and Premiere editors in pubs. Not to mention the age of the machines in some facilities which would not handle FCPX very well.

It’s been said many times, the FCPX journey will mirror Legacy in so many ways.

But FCP7 dead? Not yet I don’t think.

[Scott Witthaus]

[Shane Ross] “Can’t help but notice that the OP has yet to come back and reply. Seems like a troll stirring the pot needlessly.”

Exactly. Some folks must be very bored.

Personally I don’t want someone to re-make FCP7. It’s old and dead. Having just done a little work on Premiere, that just confirms my thoughts.

Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter

[Herb Sevush]

[Scott Witthaus] “Personally I don’t want someone to re-make FCP7. It’s old and dead. Having just done a little work on Premiere, that just confirms my thoughts.”

Nobody wants to remake FCP7. The idea would be to make FCP8. And while I’ve come to like Ppro very much, it is not FCP8 – there are distinct differences in the way they are designed.

Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf

[David Mathis]

After getting to know FCP X, I really don’t miss FCP 7 as much, even the tracks. I do miss “Send To Motion”, though.

[Mitch Ives]

[David Mathis] “I am ruining Resolve on a older mid 2012 Mac Pro. Could explain my experience.”

It’s different on a new MP… still needs work, but it isn’t as bad as I keep reading on this forum…

Mitch Ives
Insight Productions Corp.

“Criticism may not be agreeable, but it is necessary. It fulfills the same function as pain in the human body. It calls attention to an unhealthy state of things.” – Winston Churchill