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FCPX in action
The Culture Show, Wednesday 10pm BBC Two 10 October 2012. This episode will contain to the best of my knowledge the very first item cut at the BBC Production Village in FCPX and will screen nationally. Yesterday I completed a 8 min item for our national Arts magazine program cut in FCPX, and the experience I have to say was a lot of fun. The RIBA Stirling Prize 2012, presenter Tom Dyckhoff. The item was cut in London and sent down the line to our Glasgow studio to be included in tomorrow nights show. In Glasgow the item will be dubbed and graded. We sent a Pro Res422 QT and an AAF from X2pro.
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70 Replies
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I think with the next update people should stop moaning and start using it in practise. I enjoy it a lot, with the third party extras like X2Pro ECT its faster, more fun and just feels better than all the other NLE. of course still has a long way to go but certainly is not as bad as people make out!
Good to hear someone has used it for broadcast.
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[Robin lewis] “I enjoy it a lot, with the third party extras like X2Pro ECT its faster, more fun and just feels better than all the other NLE.”
In your opinion. I’ve worked with it before and I still enjoy editing in Premiere CS6 far more. And this “faster” thing is completely nebulous.
[Robin lewis] “of course still has a long way to go but certainly is not as bad as people make out!”
Which is funny, because I read of people’s workflows on here and they all seem to be filled with work-arounds and attempts to “trick” the magnetic timeline to do what they want it to. It seems like a lot of effort just to use the NLE, and feels like, “I’m going to make this work if it kills me!” I’d prefer to work in something that doesn’t require that right off the bat.
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Try getting a USB mic to work in Premiere.
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[John Davidson] “Try getting a USB mic to work in Premiere.”
I use an M-Audio USB Mobile Pre on my mobile workstation (with Premiere) without issues. Does it not work under OSX?
Shawn
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Not easily. Took quite a few hacks to get it to work (over a day of googling and trying to figure it out). Tried the same thing in FCPX and it just worked right of the gate. Premiere just didn’t want to see it. I’m not surprised it works easily on a PC. Adobe and macs are basically just staying together for the kids.
John Davidson | President / Creative Director | Magic Feather Inc.
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[Gary Huff] “Which is funny, because I read of people’s workflows on here and they all seem to be filled with work-arounds and attempts to “trick” the magnetic timeline to do what they want it to”
Nope! love the magnetic timeline.
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It’s a really complicated work around, press the ‘P’ button! I really like how the slip tool is now just the trim tool too yet I have yet do you know hoe to slip a shot fame by fame with the keyboard?
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hey thats fair ball – do you want to maybe expand on how you use the primary? whats your approach given the serious differences to established NLEs?
I get that it’s good for robustly and quickly structuring factual, that appears to be one of its primary goals – but I find it simply infuriating for short form and commercial myself – the overlaying of modalities and the default behaviour of the timeline with autolinking feels seriously over thought –
my b*tching aside –do you want to give an indication to the manner in which you handle the programme segments in ingest, organisation and timeline versus your previous editor? genuinely curious – figure that would probably be pretty broadly interesting read as it were.
also do you approach geometrics for shot push pulls in FCPX as well as CC stuff?https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[John Davidson] “Not easily. Took quite a few hacks to get it to work (over a day of googling and trying to figure it out). Tried the same thing in FCPX and it just worked right of the gate. Premiere just didn’t want to see it.”
That’s disappointing, though I’m suprised Adobe didn’t fix it right away. They’re usually pretty good about things like that.
[John Davidson] “I’m not surprised it works easily on a PC. Adobe and macs are basically just staying together for the kids.”
I’m not a Mac user, but I can’t imagine this is a common feeling amongst Adobe users on the Mac. I haven’t heard anything like this from AE, Photoshop or Illustrator artists (for instance). Then again, I fully admit that I’m probably out of the loop here.
Shawn
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[Gary Huff] “Which is funny, because I read of people’s workflows on here and they all seem to be filled with work-arounds and attempts to “trick” the magnetic timeline to do what they want it to. It seems like a lot of effort just to use the NLE, and feels like, “I’m going to make this work if it kills me!” I’d prefer to work in something that doesn’t require that right off the bat.”
Gary,
I respect your opinion, but it’s an increasingly uncommon one.
The OP, and others, and the user I know most about – myself – simply don’t have ANY problem cutting with X. I use no “work arounds.” at all. I simply use the software to make the programs I want. Period.
The obsession with magnetism is silly. Unless you’re fetishistic about it, Magnetism will disappear as a issue in the first month. It simply becomes expected. Its a boon in a whole lot of assembly operations – – and when it doesn’t suit what you need to do – you tap P and turn it off. It becomes expected and reflexive and consumes NO thought and present absolutely no barrier to an editor who’s comfortable with the software.
As, I suspect with the OP, X has (just like most software) imply “disappeares” in a functional sense to the experienced editor. Precisely as AVID or Premier should “disappear” to their users. No experienced editor sits and thinks about using the software – we all just focus creating the program we need. The software disappears into the background. If it doesn’t, you don’t know it well enough.
I completely “get” that if you’ve become personally accustomed to a set of expectations as to how editing “must” work in order to be satisfied, and if X doesn’t function for you in that narrow way – then it may not be a good choice for you. But that’s not from lack of capabilities – it’s from personal preference.
The OP cuts for the BBC broadcast chain. He came here to note that he ENJOYED the process of editing with X and he got his work done.
Period. He can’t be “wrong” because he delivered the work – and didn’t find any issues that prevented that.
The “take away” is that it’s possible to use FCP-X for high-level broadcast work if you’re willing and flexible enough to adapt to how it operates.
If you’re NOT flexible enough to do that – it will fail for you because you’ll keep focused on what it doesn’t do the way you want it to – rather than focusing on how it actually works.
The OP simply is another confirmation of that.
Nothing more or less.
“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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