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FCPX on MBP Retina Display – WOW
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and, for the record, Bill has consistently provided pithy, brief, balanced posts, completely devoid of condescension, verbosity, ad hominem attacks, pomposity, delusions of grandeur, messianic insights into editing, or wildly inappropriate closing quotations.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Franz Bieberkopf] “You’ll still have to explain why you’re comparing X to 3 year old software, but charts are persuasive”
I compare it to 3 year old software, because in this thread people are claiming FCPLegacy is where the money is, because that is what people ask freelancers to edit on NOW.
PP6 is also faster than FCP7, because it is 64-bit as well. But not everything is processor-speed, a lot what people here claim as “faster” is quicker turnaround in many workflows, becuase the media-management and editing process are more efficient than what they used before.
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[Walter Soyka] “If FCPX is so big with such huge sales and is so ready for professional editorial, why are there zero freelance gigs in London that require it?”
Well that is two-fold: for one the networks are the last to make a switch, because it is immensely expensive to install hundreds of new NLEs. So network-jobs here in Austria are still in FAST (which was later bought by Pinnacle and AVID and sold as Liquid); in 2012!! So the networks do not care what software can do as long as it fits their budget and timeframe.
The other side of this are the freelancers: I usually get asked what I WANT TO use. Avid or FCP7? And when I say FCPX then well….let´s use that. They don´t care as long as it works. And if I need to use FCP7 in the end to export my MXF, they don´t care either, because all they are interested is the film in that MXF.
So while there are basically no freelance jobs for FCPX in London. that does not mean that nobody would allow you to use it, but it is so new in terms of network-timeframes it is not even on their horizon yet.
But it will and FCP7 will soon be out of there, once PP and FCPX editors will walk the door out earlier than the FCP7 editors….time is money. -
“PP6 is also faster than FCP7, because it is 64-bit as well. But not everything is processor-speed, a lot what people here claim as “faster” is quicker turnaround in many workflows, becuase the media-management and editing process are more efficient than what they used before.”
PP6 and FCP 7 may also be “faster” in the sense of “not taking time from paying jobs to bang your head against something suboptimal until it has sufficiently bent you to its will.”
It’s different if X is optimal, or close enough to it, out of the box for you, or you have the time or inclination to with it in. but there’s also something to be said for working with what works for you until it doesn’t. That’s not “fear” or “failure to look forward.” it’s efficiency, and if speed isn’t about efficiency, it’s not worth much more than fun for cheetahs.
Tim Wilson
Vice President, Editor-in-Chief
Creative COW Magazine
Twitter: timdoubleyouThe typos here are most likely because I’m, a) typing this on my phone; and b) an idiot.
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[Chris Harlan] “Dang. I missed it too. Could it be that the Mac guys are only sending out ballots to like, you know, other Mac guys?”
Maybe former and current Sound Forge users were purged from the voter rolls? 🙂
Shawn
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Alban, just for clarity, the part of my post you quoted was what I interpreted Aindreas’s post to mean.
Some of us can choose what tools we use; others must use the tool their clients choose. This is a huge difference in perspective, and I thought that a misunderstanding of that difference was hindering the conversation here.
[alban egger] “The other side of this are the freelancers: I usually get asked what I WANT TO use.”
Not all freelancers have this option. I think it depends on what kind of client is hiring you.
End clients are results-only. For agency or production company clients, both results and processes count.
If you are hired to provide a product — the final edit — then your tool choice is totally up to you. Other freelancers may be hired to provide part of the process, and then the tool choice is up to the client.
In some of my work for production companies and agencies, project files are deliverables. In these cases, I must use the same tools as my client.
I lost a bid last year for some 3D animation work because I use Cinema 4D and the agency wanted native Maya work. Could we have achieved the same end results with C4D? Of course, but that would have only met one of the agency’s needs. They also needed to know that the work would fit in their pipeline without any issues if they needed to repurpose it.
From their perspective, even though we have a great relationship and they knew that we’d deliver the results they needed, I would have been the wrong choice for the job specifically because of the tools I use.
As long as people are hired to work within others’ pipelines, I do think that the question of “what NLE can I get hired to use” is germane.
Of course I would agree with you that any blanket statement that FCPX is unsuitable for professional work is utter poppycock — but I do remain sympathetic to cases where a specific tool may not be used, regardless of its merit, for external workflow or systemic reasons.
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 -
If so, be assured I will immediately redouble my efforts to avoid that in the future.
“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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When you opened a sequence in FCP 7, FCP would load information about where each clip resided on a hard drive and more, and most of this information goes into RAM so it’s accessed incredibly fast. However the code base used in FCP 1-7 (originally carbon then carbonized for OS X) couldn’t access more than about 2.7 gigs of RAM total. So when you load a huge feature length zillion edit sequence, it may have to disk cache to even load the sequence in the timeline window. Depends… the simpler the sequence, and fewer the edits the less RAM it needs… The spinning wheel would run for a while during this disk caching routine, then the sequence would load as much as it could around the playhead and work. But ya waited… You can see the amount of RAM any program uses in the Activity Monitor on your Mac. Open it and monitor what happens when you do any given task, judge you’re next upgrades that way.
Same thing in FCP X. (loading a bunch of info into RAM loading sequences, and loading clip info) However the ceiling the program will use is much higher. Tons and tons, more than the machine can support before disk caching takes place. RAM couldn’t be accessed like this before. So buying more for just FCP to run OK didn’t make sense.
Jerry
Apple Certified Trainer, Producer, Writer, Director Editor, Gun for Hire and other things. I ski. My Blog: https://blogs.creativecow.net/Jerry-Hofmann
Current DVD:
https://store.creativecow.net/p/81/jerry_hofmanns_final_cut_system_setup8-Core 3.0 Intel Mac Pro, Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D, AJA Io HD, 17″ MBP, Matrox MXO2 with MAX – Cinema Displays I have a 22″ that I paid 4k for still working. G4 with Kona SD card, and SCSI card.
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[Walter Soyka] “Of course I would agree with you that any blanket statement that FCPX is unsuitable for professional work is utter poppycock — but I do remain sympathetic to cases where a specific tool may not be used, regardless of its merit, for external workflow or systemic reasons.”
We are on the same page then 😀
After all I still use FCP7 on all projects where I need to export 8-OMF tracks for the client´s audio-division.
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