FCPX is Ready for prime time

[Shane Ross]

“Promos.” Short form. Yeah, its great for that, no question. And it’s perfect for many pro workflows. We all get that.

But I have no need to learn it as I cut long form shows for broadcast. Most of the time shared projects with multiple editors. FCX isn’t up to that task yet, so I have zero need to learn it. In fact, the push here for long form is with back to Avid, or over to Premiere Pro. Only FCX jobs I see are for casting or web or promo.

Then again, I’m part of the 2% that Apple doesn’t care about.

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

[Jordan Mena]

I got news for you buddy. I have to cut three 30 minute episodes for air starting Monday with 2 weeks for each episode using X. I’m not scared.

– J

Jordan Mena | Editor | Colorist | Producer
Los Angeles, CA
jordanmena.com

[Shane Ross]

Cool! If it works, great. Whatever tool gets the job done and delivers what the network requires.

Two weeks for 30 min (22:30ish) sounds about right. We typically get 4-5 weeks for our 1 hours. Although because we throw 3 editors at each episode, they get done in about 8-10 days.

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

[Douglas K. dempsey]

I read a lot of comments on this forum by editors who cut various documentaries, network shows, cable shows etc.

If you are allowed to name the particular shows and episodes — and I understand if this is not desirable or allowed — I would love to actually see particular shows cut on X.

There is a vast difference in the needs and quality of various shows. An Aaron Sorkin-written episode of Newsroom shot on multiple Alexas, with tons of fast-paced, over-lapping dialogue … is very different from a guy in a garage arguing with his son about how to rebuild a motorcycle, documented over several days with HandyCams or DSLRs.

And documentaries, likewise, vary wildly in what needs to be accomplished with audio, with intercutting between un-matched cameras of vastly different quality and look, and managing hours and hours of material, vs ENG or presskit shoots made with far less over-shooting or coverage..

I would love to see various claims supported by examples! If possible.

Doug D

[Chris Harlan]

[Jordan Mena] “I’m currently working for a major network that decided to go the FCPX route for creative and finishing in tandem with Resolve.”

Which major network? I’m not seeing that, but I’ve been busy, so I’m not seeing everything. None of the studios or networks I work for have made that decision. Most of them are either solidly Avid-based, or non-denominational. Maybe we disagree on the definition of a “major network?” I count seven broadcast majors–ABC, CBS, NBC, PBS, Telemundo, Fox, and CW–plus a half-dozen very substantial Cable franchises like TBN that deserve to be called “Major,” however non-traditionally.

That one of these has now decided to adopt FCP X as its primary promotions NLE is certainly BIG news. So, please, inform us.

Or do I misunderstand? Do you mean a major network has allowed the show you are working on the go FCP X, as opposed to the Network going FCP X?

[Oliver Peters]

[Douglas K. Dempsey] ” An Aaron Sorkin-written episode of Newsroom shot on multiple Alexas, with tons of fast-paced, over-lapping dialogue …”

I’ve done those kinds of scenes with X on a indie film I’m cutting. Narrative cutting by one editor isn’t a big problem in X.

[Douglas K. Dempsey] “And documentaries, likewise, vary wildly”

True, but these definitely benefit for the keyword/smart collection structure of X.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Douglas K. dempsey]

I am interested in how you do versioning of your short pieces? Do you use compound clips, multiple projects, etc?

Doug D

[Charlie Austin]

[Shane Ross] “Most of the time shared projects with multiple editors. FCX isn’t up to that task yet,”

Do you consider FCP 7 to be up to that task? IOW just handing an (tcp 7) sequence/project off to another editor right? Not multiple users cutting the same sequence concurrently right?

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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Shane Ross]

When I started using FCP for broadcast work, I blogged about it, and named the network. That actually was the whole point of the blog, the fact that I wasn’t using Avid to cut a broadcast show, but rather FCP. And not only that, but it was one of my first forays into HD. So I blogged about my successes and failures, the challenges of using FCP to cut for broadcast. I named the show, a special called THE MEXICAN AMERICAN WAR, and I named the network, The History Channel.

If I should start using another non-Avid NLE for broadcast, I’ll do the same thing. ‘Hey, check it out, I’m using Premiere Pro to cut a Lifetime movie!’

So if you are going to brag about using FCX for a ‘major network,’ can you name that network to add credence to the statement? Or are you prevented from doing that? NDA or something? I haven’t blogged lately about the shows I’m on because of just that, NDA. I can say that I am cutting Ancient Aliens, or now a new show called The Curse of Oak Island, and both were for History, heck, I can even say I use Avid. But I can’t say anything else.

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

[Charlie Austin]

[Douglas K. Dempsey] “I am interested in how you do versioning of your short pieces? Do you use compound clips, multiple projects, etc?

Doug D”

Not the OP, but I just duplicate the project and continue. Some folks use CC’s as well… Personal preference I guess, same result… 🙂

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~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~