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  • FCP7 review by someone who likes FCPX

  • alban egger

    August 22, 2011 at 7:28 pm

    had to go back to FCP7 and here´s my review of it after several weeks in FCPX….
    https://fcpxmegatest.blogspot.com/2011/08/review-of-fcp7-from-fcpx-user.html

  • Herb Sevush

    August 22, 2011 at 7:57 pm

    Alban –

    AS of June 21 FCP is dead, and every editor has to migrate somewhere. The correct comparison is between FCPX, PPro, Media composer, Edius, Vegas and Lightworks, if it ever gets out of Beta.

    Most of those other programs can actually export an OMF without having to use FCP7, they even have multi-cam and the ability to monitor on a calibrated screen. Some of them can handle h.264 without background rendering, they just handle it natively, might save you some time some day. You should look into one of them when you want to work on a high end system again.

    Herb Sevush
    Zebra Productions

  • Herb Sevush

    August 22, 2011 at 8:02 pm

    I left out Media 100.

    Herb Sevush
    Zebra Productions

  • Alan Okey

    August 22, 2011 at 8:22 pm

    Regarding color correction, how are you able to perform critical broadcast monitoring out of FCP X? Until a solution for that has been introduced, I don’t think that a meaningful comparison of color correction capabilities can be made between FCP7/Color and FCP X. I’m not saying it won’t happen, just that it’s not here yet.

  • alban egger

    August 23, 2011 at 6:07 am

    Yes the missing proper preview is a dealbreaker, if Apple and their 3rd party vendors don’t soon provide us with a solution they will lose more mid- to highend customers.

    I have written more about that in my blog in the “conclusion-post”.
    For now I rely on the scopes and make testrenders that I watch on FCP7 / MXO2 on critical shots.

  • Craig Seeman

    August 23, 2011 at 2:26 pm

    Alban, thanks for expressing all the thoughts that dance in my head when looking at FCP7 after using FCPX.

    One thing that stands out for me is connected clips and connected secondary storylines. When I edit, my layers always relate to the clips below them. The connection ensures that when I have to move things, those connections are maintained. All the naysayers will point out how you can do this in other NLEs but, to me, those are awkward compared to FCPX.

    Another thing I like is that audio stays with video. I have always found it awkward when Video Track 4 might have it’s audio tied to Audio Track 7 and 8 for example. The relationships are visually awkward as far as I’m concerned. In FCPX video and audio are together unless you chose otherwise.

  • Craig Seeman

    August 23, 2011 at 2:32 pm

    When Alban posted elsewhere features that he liked that are unique to FCPX, some people brushed them off as not important. To some of us they are ket improvements that do not exist in other NLEs. Certainly FCPX is missing key features as well as Alban himself has stated, but there is enough innovation with FCPX for me and others to hope to see the missing features added. Apple has spoken about a few of them so I trust they’re coming even if you and others don’t. In the meantime I too make do with “hybrid” workflows but the time savings I get in FCPX on projects that don’t need the missing features are incredible.

  • Jamie Franklin

    August 23, 2011 at 3:13 pm

    Regarding Color Correction…

    How can you take a product that is actually enterprise and turn it into a 3rd rate corrector and keep a straight face calling it a “revolution”

    The FCX corrector blows. I can’t even believe they were serious with releasing it as a replacement. It boggles the mind…

  • Alan Okey

    August 23, 2011 at 3:29 pm

    [Jamie Franklin] “The FCX corrector blows. I can’t even believe they were serious with releasing it as a replacement. It boggles the mind…”

    It’s clear that Apple felt that the traditional color wheel-based UI paradigm used in virtually every CC filter and dedicated grading system was far too complex for the average user that they are targeting with FCP X. The result is the “color board.”

    I personally don’t care for it, but if it turns out that it’s easier to use for the majority of the new users that Apple is trying to cultivate, then I suppose they’ve succeeded at democratizing the tools.

    That’s really a statement you could make about FCP X as a whole, not just the CC tools. Apple is willing to risk offending the relatively small number of high-end (film/broadcast) pros who use their products in order to make a brand new product that lowers the financial and intellectual barriers of entry to anyone who wants to edit video and perform a basic level of finishing. In doing so, they believe that they will expand their user base (and profits) exponentially. It’s just business.

  • Craig Seeman

    August 23, 2011 at 4:04 pm

    [Alan Okey] “It’s clear that Apple felt that the traditional color wheel-based UI paradigm used in virtually every CC filter and dedicated grading system was far too complex for the average user that they are targeting with FCP X. The result is the “color board.””

    [Alan Okey] “if it turns out that it’s easier to use for the majority of the new users that Apple is trying to cultivate, then I suppose they’ve succeeded at democratizing the tools.”

    The odd thing about it (IMHO) is that I think the Color Wheel makes it easier to understand color theory (color in practice actually). With a color wheel you can see that as you reduce a color, the complimentary color will become more obvious. When you change hue you can see what the new complimentary color is as well.

    I can see how the Color Board offers a cleaner and possibly simpler interface but it makes what’s happening regarding complimentary colors harder to see.

    I’d like to see an option which would allow one to switch between the wheel and the board.

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