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FCPX on MBP Retina Display – WOW
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[Michael Gissing] “I know the game has started elsewhere but Bill needs a reminder that we are far from anything remotely conclusive about FCPX’s role in features & broadcast. Potential yes but long way to go.”
Once again, I agree. Hell, I still can’t use it exclusively, mostly due to issues relating to sending elements out to someone like you for finishing. It’s real close, but there’s still work to do. I guess what keeps me blathering on here, is that it drives me crazy hearing people talk about how X won’t work, is iMovie, isn’t professional, throws out years of editing conventions etc.
The reason that drives me crazy is because I felt exactly the same way When X first came out. I was horrified. Tried to use it halfheartedly a few times and was convinced it sucked. Then, I literally forced myself to really try it, start a real project with a real deadline and a real client. I had to work through things that made me throw up my hands in frustration in earlier trials. I resisted the urge to just transfer the project back to FCP 7 daily. And now, all I can say is that cutting in X is fun. It just gets out of my way and lets me cut. So… I selfishly want it to succeed in the biz I work in, features and broadcast.
I’m an editor, I can cut on anything. But I’d prefer to move forward with FCPX. Thus… my ranting. 😉
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~”It is a poor craftsman who blames his tools.”~
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[Aindreas Gallagher] “I come off *resplendently* as a dick 😉 – repeatedly. (please ignore arsey FCP engineer quote above…)
Done.. didn’t mean to rub ya the wrong way. I’m right though. LOL
[Aindreas Gallagher] half suspect I haven’t given the software enough time of day – makes for a dodgy perspective.
You really do need to force yourself to get past the perceived differences. For one, I’d suggest avoiding the primary story line to start. Cut everything in as connected clips, it works almost exactly like FCP 7 and other NLE’s if you do that. There’s a lot of really cool stuff in there… once you get past the “WTF is this?!?!” phase.
[Aindreas Gallagher] but there’s a real bull mood over here. herd says no.”
True. The herd said exactly the same thing about the original FCP in 1999. They were wrong. We’ll see what happens this time. 😉
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~”It is a poor craftsman who blames his tools.”~
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[Jerry Hofmann] “Why shouldn’t audio be connected always to video?”
I’m not quite clear what you mean here. Do you mean audio should always be connected to the original video it was recorded with, or is it that audio always needs to have a video reference to go with it?
[Jerry Hofmann] “Track’s only real reason for existence is the ability to be able to export them separately. X’s “roles” does the same thing, and then some.”
Actually the main advantage of tracks is to give visual organization and coherence to a timeline, making it easy for the editor to see where every element is at a glance. With X can you see at one moment, without clicking on anything, exactly where your sync, audio efx and music are, assuming 2 layers of sync, 2 layers of EFX and 4 layers of music. If so please tell me how?
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Aindreas Gallagher] “but there’s a real bull mood over here. herd says no.”
[Charlie Austin] “True. The herd said exactly the same thing about the original FCP in 1999. They were wrong. We’ll see what happens this time. ;-)”
In 1999, FCP was pretty limited and not a serious competitor to Avid — just as in 1989, Avid was pretty limited and not a serious competitor to CMX. Passing on those products at those times was a responsible reaction for a working editor to have.
Then, like a carton of milk, these opinions became sour beyond their expiration dates. It turns out that saying “this product does not work for me” is very different than saying “this product could never work for me.”
That said, past performance is no guarantee of future results. Just because FCP Legend ushered in the editorial equivalent of the Pax Romana doesn’t mean that FCPX can do the same. In some markets, this could turn out like the old joke: “FCPX is the future of NLEs — and it always will be.”
We may see a period of time where NLE choice diverges, especially since each of the major NLEs offers different philosophies and workflow strengths and weaknesses. If nothing else, this new wave of competition of ideas among media application developers will get some really great tools into our hands.
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 -
[Shawn Miller] “This doesn’t seem nearly as fast as Premiere Pro’s Dynamic Link to AE.”
Sure but isnt it sad that it took Adobe this long to get that to actually work?
I mean Ive been doing the freakin round trip from Premiere to After Effects even before Premiere was removed from the Mac and now this becomes a sexy thing to have?
Sorry but that doesnt cut it for the ones that actually had to deal with it since the COSA days 😛
Most real pro’s would have had to figure out their own round-tripping with other NLE’s way before Adobe “finally” got it “somewhat” right 😛 -
[Shawn Miller] “This doesn’t seem nearly as fast as Premiere Pro’s Dynamic Link to AE.”
[Eric Santiago] “Sure but isnt it sad that it took Adobe this long to get that to actually work?”
We could turn this around. Isn’t it sad that Apple used to have round-tripping between FCP and Motion, and now they don’t? Or isn’t sad that FCPX doesn’t do range-based exporting, so a workaround or third-party app is necessary even for simple things like getting one clip out of an edit to effects and back?
Shawn is absolutely right to bring up the fact that different NLEs, with their different strengths and weaknesses, may be better suited in different workflows.
[Eric Santiago] “I mean Ive been doing the freakin round trip from Premiere to After Effects even before Premiere was removed from the Mac and now this becomes a sexy thing to have? Sorry but that doesnt cut it for the ones that actually had to deal with it since the COSA days 😛 Most real pro’s would have had to figure out their own round-tripping with other NLE’s way before Adobe “finally” got it “somewhat” right :P”
Eric, have you used Dynamic Link on CS6? We have had to round-trip via intermediate renders as long as NLEs and effects packages have existed, and Dynamic Link is a pretty clever solution to this long-standing problem.
Innovative ideas and iterative improvement come out of San Jose, San Rafael, Tewksbury, and Cupertino alike.
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 -
we often layer 10 tracks of sfx, music dialogue that does NOT connect to the video – it’s independent of the video ..so the statement “audio should always connect to video” simply doesn’t exist in real life editing for documentaries and features.
Sorry Andy, but I don’t understand this. How do you have audio not connected to video in a timeline? Every film/show/spot/doc starts somewhere and even has chapters. If you have audio that just flows beneath everything then at least the start of these chapters has to be your connection point.
And just like in other NLEs you can create a “track” – with either functions of a storyline or as a mere clip for something like an underlying – but not connected – sound or a logo/watermark-graphic that is composited over the whole film.A lot of these “theoretical” issues are easily solved in practical use in FCPX.
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[Walter Soyka] “Eric, have you used Dynamic Link on CS6? We have had to round-trip via intermediate renders as long as NLEs and effects packages have existed, and Dynamic Link is a pretty clever solution to this long-standing problem.”
Yes Ive had to use it…once…assuming I use Premiere Pro for deep projects but I dont.
Just throwing that in due to comments about what apps can do which and has nothing to do with the topic got me riled up.
I know Dynamic Link works since Ive had to witness others use it and have had the pleasure of working in After Effects with it.
But again I dont use PPro religiously since we’re Avid/FCPX centric.
Now I hope that explains why I didnt place Motion in my post 🙂
Plus the fact that Ive never had to export a portion from FCPX Project but I know that I can just dupe a project > compound it > blade it > then share it 😉 -
I’m talking about the fact that we always want audio to come at a certain place with the video. I’m pointing out that it should move with that video if I move the video. FCP X accomplishes this for me.
You have to click in order to highlight certain roles it’s true. But that extra click has allowed you to have the magnetic timeline in the first place, I think that’s certainly a doable trade-off.
Jerry
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[Jerry Hofmann] “I don’t say you should dismiss workflow considerations. I said it’s still the fastest NLE (Non Linear Editor) in the world.”
And I still say you are completely pushing a baseless assertion and that doesn’t seem to bother you in the slightest.
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