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FCPX from an Editor who used it on Iditarod 2012
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[Chris Harlan] “I’ve been doing that for years, as well. I don’t get the hullabaloo, either.”
Not out of FCP-legacy you didn’t. Unless you spit out a standalone file, opened up an email app, used the finder to navigate to that file. attached it to the email , and sent it on it’s way. then navigated back to FCP.
Now al that is in a simple menu directly inside the X interface. And along with email, you get a nice choice of other “publishing” options including easy access to YouTube and Vimeo – complete with the ability to tag your output with search terms for basic search engine optimization.
Since YouTube is now the second most visited “search” facility on the planet after Google – that small accommodation will likely help scores of people develop new content publishing approaches along with live website updating, visual cataloging and other interesting new capabilities as X matures.
Remember the entire video world is no longer limited to what’s on TV and in the Movies.
Times are changing. And my explorations tell me that X was built for that kind of foreseeable future.
YMMV.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Bill Davis] “I freely acknowledge that large TV operations and post houses have had capabilities like this for a long time. At the cost of building out zillion dollar infrastructures and maintaining teams of engineers to keep it all running.”
Bill, I was doing all of this by myself at a small ad agency with only a handful of hard drives, a Dell workstation and Media Composer – 5 years ago.
Any project I’d archived could be back online within minutes – often less than 30 seconds. It didn’t take zillions of dollars or engineers. Just a basic understanding of harddrive based archiving and choosing an NLE that could manage media intelligently.
Regarding file delivery for approvals – I’ve been that about 7 years. It’s wasn’t a one-click straight to Vimeo or YouTube, but the clients wouldn’t have agreed to that anyway. They wanted specific file types emailed to them or uploaded to their (or our) FTP.
I am curious, can you set up your own template to compress to a particular file type then immediately upload it to an FTP site? I’ve played with FCPX some but I haven’t messed with the publish features. Are they customizable, and if so to what degree?
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Michael Hancock
Editor -
[Rafael Amador] “but what this means for the people that is not on sports and news?”
There are plenty of people on here using X for things other than sports or news my brother, just look around on here.
He–, I’m the only one talking about sports, everybody else here is talking about something else.
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[Chris Harlan] “That might be the case for your truck, but on the large unscripted stuff I’ve worked on, there are definitely more than four audio/video ISOs available–usually one for each lav, a couple of booms, and a static room mic. Of course that’s in a studio, so its easier to manage.
“Of course, I think most people know I’m not suggesting we are all working on the same shows, that should go without saying.
I was just on a job like you described two weeks ago. The audio might be handled funky by X right now in that case but still can be done.
My point is I’m willing to deal with that because of the ease in other parts that I like.
That’s what that guy in the video was saying. He didn’t like everything in X but he liked more than he didn’t like and he got the job done with it.
There are a gazillion shoots where there is only one person on camera at a time.
Carpet commercial, hotel spot it’s election time some politician standing there talking.
Then the other extreme I described. If there is a job with 20 mics or more without a truck there to mix it, I wouldn’t want to work that job anyway.
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[Walter Soyka] “AV Foundation and FCPX have both been under simultaneous active development for years, and Apple must have had to decide which team would develop support for specific features (like broadcast monitoring). How could FCPX have ever shipped if those teams weren’t working closely together?”
By the skin of their teeth, hence, “beta”.
So do you think the ProApps team is driving AVFoundation?
No way. AVFoundation was built to make sure YouTube worked on the iPhone first, and they’ll roll the rest of the “QT Replacement” aspects later, much later.
Otherwise there’d have been a maintenance release by now.
My guess is ProApps is waiting on the OS team, and they aren’t necessarily coordinated in some sort of programming ballet.
[Walter Soyka] “They’ve kept it up for this long…”
When I said they cant keep this up, I meant having a program that is not just quirky, but kind of broken.
Since 10.0.3 especially, the crash and certainly the beachball posts have risen dramatically, and not just here, but everywhere. It wasnt like that in 10.0.2, it was just quirky, and you deal with quirks of you like something well enough. It’s very hard to deal with broken.
They won’t be able to maintain that for too much longer. Or if 10.0.4 performs even worse…..?
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[tony west] “Then the other extreme I described. If there is a job with 20 mics or more without a truck there to mix it, I wouldn’t want to work that job anyway.”
Ha! I am laughing out loud.
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[Michael Gissing] “None of those NLE’s have written anything so hard to compare to Steinbeck, but Steenbeck is another matter.”
Blast you, spell checker!!!
I should have gone with Moviola.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
But isn’t this forum all about “Of Mice and Editors”
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[Bill Davis] “OK, Herb, but if you’re gonna ding the “crazy” bell on me -how do you handle that the original link here was to yet another pro user in the field saying the same thing I’ve said over and over and over again.”
I wasn’t really dinging the bell, I was just reacting to the sentence itself, it was like challenging someone to make a funny comment. So to clarify Bill, I don’t think your crazy. I do think some of your arguments are lacking in logic, but it’s not a personal judgement.
[Bill Davis] “As one small example, people diss X for crashing. Which is fair. It does crash. And if that’s all someone has to say, it’s fair – but it’s also misleading. Cuz, when others note that it largely crashes “losslessly” and an average user seldom gets set back much if any from such a crash – that’s useful for someone trying to decide whether to use it.”
On the other hand people praise X for it’s speed. I don’t see how continuous crashing helps your overall cutting speed, even with lossless reboots, but hey, that’s just me.
[Bill Davis] “I can edit faster with X than I could with Legacy – and now I understand that with every project I successfully create and archive, I am building a global database for each client that I can use in the future that will potentially improve my efficiency further. I just got an order for new commercials for a west coast client just yesterday, and was able to save hours if not days by instantly calling up the relevant selects via keywords off the old project. I went from idea to rough cut in 30 minutes , rather than a full day of dis-archiving their project from a year ago and re-capturing the digital tapes which would have been the process a year ago.”
I like the database of keywords, that works for me, it sounds very convenient to have it inside the ap. See, I can admit that their are some excellent ideas within X. But for the rest, the dis-archiving and re-capturing has nothing specifically to do with X, your talking about tapeless workflows and archiving, and while X is an improvement over Legacy there, many other NLE’s — PPro, Edius — had X beat to market with that workflow by about a year.
[Bill Davis] “That’s what X has the potential to do. Uniquely in my estimation. It’s built for persistent on-line asset storage and retrieval.”
What is unique about X as far as asset storage and retrieval goes? Persistent on-line storage is dependent on the size of you asset library. I shoot 15 Terrabytes of new material each spring. If I needed persistent storage I would have to buy a new 16TB raid every year. With that financial commitment even Legacy could have “persistent on-line asset storage and retrieval.” I don’t see how X makes the storage and retrieval process go any faster or cheaper – this is a real question – can you explain what you mean here?
[Bill Davis] “I’ve already used features like the Share capabilities to turn client approval dubs into something that take literally seconds to generate and email, rather than the hours it took to burn DVDs and FedEx them off in the past.”
One click export is nice, but it’s not that much faster than the 5 clicks I need to export a file with Legacy. I still have to send some of my clients DVDs, their choice not mine. I think the ability to remotely screen and work with collaborators using Ichat and Skype is a much bigger deal.
[Bill Davis] “The “timeline operations” module in the middle of FCP-X is all that most traditional “editors” are stuck arguing about. (Analogy alert: look away so as not to burn your brain!) To me that’s like arguing exclusively about the engines at a car show. Should it be part of the discussion? Absolutely. But it’s not the only discussion worth having. And the engine doesn’t adequately describe the entire car experience, does it?”
But if the engine won’t get you up the mountain it’s a waste of time talking about the great navigation features and the lumbar support. It’s not the only thing, but it’s a deal breaker.
[Bill Davis] “That’s the kind of stuff that those of us who are using it are seeing as transformative. Not whether the timeline is magnetic or not. That turned out to be almost totally trivial in hindsight.”
If it’s so trivial and yet so polarizing, you’d think they would address it.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[tony west] “Of course, I think most people know I’m not suggesting we are all working on the same shows, that should go without saying.”
Sorry if I misunderstood you. It seemed to me you were strongly implying that even large shows max out at 4 ISOs, let alone the small ones. And yes, I think most people know we are not all working on the same shows.
[tony west] “The audio might be handled funky by X right now in that case but still can be done.”
That’s good. For my particular job, the trade-off wouldn’t be anywhere near worth it, but I certainly see where it would work well for many people.
[tony west] “There are a gazillion shoots where there is only one person on camera at a time.
Carpet commercial, hotel spot it’s election time some politician standing there talking.
“Of course there are. Do you somehow think I’m arguing that there are not? My response to your earlier statement was focused only on the assertion that jobs top out at four ISOs, which was apparently my mistake by misinterpreting what you were saying. Again, if I misunderstood you, sorry.
[tony west] “Then the other extreme I described. If there is a job with 20 mics or more without a truck there to mix it, I wouldn’t want to work that job anyway.
“Yeah, that would be a challenge. Fortunately, I’ve never seen such a thing in the kind of format you are talking about.
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