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FCPX is so completely weird, it makes Motion look sane. And no one will hire you by the hour for either of them.
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[Marcus Moore] “* PS I’m hired at least 40hrs every week to do exactly what you say no one does.”
Sincerely curious, Marcus — are you saying that you are being hired specifically as an FCPX editor here? Is there a production company or agency you’re working with that has a specific need for FCPX freelance talent?
Or are you saying you are hired as an editor, free to use any tool you want, and you choose FCPX because it works best for your needs?
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Steve Connor] “I’m not sure why you keep rolling this argument out, it’s simply not true.”
Because the forum traffic was low this week and Aindreas wanted to liven things up by doing a little bomb-tossing for our weekend enjoyment 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Walter Soyka] “Sincerely curious, Marcus — are you saying that you are being hired specifically as an FCPX editor here? Is there a production company or agency you’re working with that has a specific need for FCPX freelance talent? “
I’m not sure about Marcus, but from what I see in my circles, clients (producers, agencies, post houses) assume all editors know FCP 7. To some extent they assume you know After Effects and Photoshop, too. I have yet to run across anyone requesting PPro or FCP X chops. The only jobs I’ve been hired for because of specific software chops have been Media Composer jobs, where the prod co/post house was Avid-centric. That’s largely because so many younger editors only know FCP 7, but never learned Media Composer. As more houses adopt Adobe, I suspect the FCP 7 assumption will shift (in these clients’ minds) to a Premiere Pro assumption.
That being said, I’m done quite a few jobs in the last few months where the client didn’t care and was willing to be part of the FCP X “grand experiment”. In those cases, I’ve used FCP X.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
you win the hamper.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Walter Soyka] “are you saying that you are being hired specifically as an FCPX editor here? Is there a production company or agency you’re working with that has a specific need for FCPX freelance talent?
Or are you saying you are hired as an editor, free to use any tool you want, and you choose FCPX because it works best for your needs?
“that’s really my point – pretty much everyone here espousing FCPX has the latitude to employ their own editing system as a sole operator, thats fine, but it doesn’t represent the vast majority of paid for use cases for editing – I kind of said this below, so I’ll just re-post, this explains my point pretty well:
when you talk about editing as a thing a place does where they put down seats and pay the heating, or a thing where they ask you what you can use – there have been two applications – AVID and FCP, you don’t see places with multiple suites running vegas, I dimly understand that there is a lot of great stuff in vegas, some of the killer features get posted here occasionally as prior art. but vegas sort of doesn’t matter in the broader scheme of things. and it hasn’t for its fairly long existence.
its not what the courses in the colleges teach.
I’m saying that this is FCPX’s destination, and its approaching it more rapidly than people might think.
its timeline particularly is off in the crazy weeds, and apple being apple, as a fundamental – this is our philosophical call thing – its likely going to stay there.
that is completely outside the issue of the editor’s innate skill and craft – brilliant people, with the latitude to cut completely on their own kit, who have made FCPX their own, are choosing and crafting approaches with a tool that suits them – there are plenty on here who could lay me to waste as a neophyte editor, using nothing but a scissors and some twine, as it were.
I just think apple have sent this software far out to a weird, peripheral, motion application type orbit, and it really is not coming back.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Bill Davis] “I know for a fact that the complex multi-cam stuff I was able to do with it a few months ago would have reduced Legacy V 2 into a smoking puddle of goo.”
Other than transcoding various camera codecs, which is a major strength of X, there was nothing in your description of the edit or in the final piece itself that wouldn’t have been child’s play in Legacy multicam.
Music video editing is the simplest, least demanding form of multicam editing, and I have no doubt that X is great at it. However it’s in the more complex uses of multicam, where you make as many time edits and changes in audio track assignments as you do simple camera angle switches that Legacy shines and X lacks certain basic tools.
Nice piece by the way, loved the guitar cam.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bret Williams] “X has the best multicam implementation with audio angle sync”
Can you explain what you mean here, I’m not understanding this?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
I’ve worked at a freelancer since 2006. I have 6-8 regular clients, as well as some occasional sidebars.
My primary client (maybe 1/3 income) is a producer who left another company. Between him, myself, and another editor, we work in a virtual office. So the other editor and I able to drive the technological decisions going forward. So we both pushed for all of the work for the company to be done in X.
One of my other clients, who I used to work for full time before I went freelance, were very skeptical of FCPX, but I have been informing and demoing features for them, and they will likely be moving entirely to X down the road.
Most of the rest are only worried about final masters, so I have complete freedom there.
Only one client do I still work in 7 for, and that’s because they usually version my work once I give it to them, and they haven’t switched over, so they need FPC7 files. They haven’t identified a post-FCP7 course yet, but they have already been talking with me about demoing X next spring to see if that’s they way they want to go. Which is what I will be recommending.
So do I seek out ads for FCPX editors? Nope. But I’ve never been in that scenario, looking for work. I’ve never advertised, and all my work comes thru referral of existing clients.
From my perspective, most of the resistance to X from clients is all based on negative commentary, rather than any nuts and bots appraisal of the product. As I’ve said before, X demos VERY well in ways that clients respond to. I am careful to point out it’s limitations, but those have so far not been deal-breakers in my business sector, which crosses the spectrum from corporate to broadcast.
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[Aindreas Gallagher] “so I’ll just re-post, this explains my point pretty well:
when you talk about editing as a thing a place does where they put down seats and pay the heating, or a thing where they ask you what you can use – there have been two applications – AVID and FCP, you don’t see places with multiple suites running..”
And in 2002 that was EXACTLY the state of the industry – but the ONLY name on the “approved big shop editing choice” was AVID.
It took Legacy 3 to 5 years to destroy that reality. They did it with two things. A) solidly iIncreasing features and B) a significant price advantage.
Just an observation from someone who. like many others, watched it all happen.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Herb Sevush] “Other than transcoding various camera codecs, which is a major strength of X, there was nothing in your description of the edit or in the final piece itself that wouldn’t have been child’s play in Legacy multicam.”
Really? I didn’t realize that Legacy could start multi-cam editing mixed DSLR and GoPro files virutally instantly on load – without any prep at all – on a laptop. Whenever I worked in multi-cam with legacy, unless everything was pre-processed – it choked. You must have seriously better hardware or a smarter workflow than I ever had pre-X.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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