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FCPX Oscar win
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[Jay Soriano] “Ok seems FCPX is very capable of cutting features. So what type of projects is FCPX not good for?”
Well yes, it’s capable. And, in fact, capable of any type of production. It’s just a matter of taste and style, because working FCPX is different than all other NLEs.
However, I do feel that very complex features, where you might have as many as 15 editors/assistants/VFX working in the exact same project file, are still very much the domain of Avid Media Composer. Doing that with FCPX or Premiere is possible, but the solutions are all just workarounds so far. Neither Apple nor Adobe nor BMD have cracked that nut successfully.
– Oliver
Oliver Peters – oliverpeters.com
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[Neil Goodman] “Its funny because I thought that was the name but then couldnt bring myself to believe I was correct because A movie called Focus, made by a company named Focus Films sounded like something Id come up with while I was stoned ☺”
lol
[Oliver Peters] “Well yes, it’s capable. And, in fact, capable of any type of production. It’s just a matter of taste and style, because working FCPX is different than all other NLEs.
However, I do feel that very complex features, where you might have as many as 15 editors/assistants/VFX working in the exact same project file, are still very much the domain of Avid Media Composer. Doing that with FCPX or Premiere is possible, but the solutions are all just workarounds so far. Neither Apple nor Adobe nor BMD have cracked that nut successfully.”
Right. “Can I use NLE XYZ to cut a feature” is the wrong question because pretty much an NLE can be pressed into service given enough time and work arounds (ex. the award winning doc “Tarnation” was cut in iMovie). The better question to ask is, “What’s the best NLE to use to cut a feature given my specific budget, time and workflow requirements”.
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[Andrew Kimery] “The better question to ask is, “What’s the best NLE to use to cut a feature given my specific budget, time and workflow requirements”.”
There’s another aspect to this. Both Adobe and Avid have been conscientiously engaging the film community in an official capacity for years. Apple quit doing that a while ago. They have shown up at some key events, but have largely left that direct interaction to other parties. It certainly affects the perception of Apple’s apps as to whether they are just for advanced individuals or actual enterprise-level pro projects.
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “There’s another aspect to this. Both Adobe and Avid have been conscientiously engaging the film community in an official capacity for years. Apple quit doing that a while ago. They have shown up at some key events, but have largely left that direct interaction to other parties. It certainly affects the perception of Apple’s apps as to whether they are just for advanced individuals or actual enterprise-level pro projects.”
While this is totally accurate on it’s face, there’s perhaps another dimension to the question.
Given that the overwhelming cadre of “experienced feature film editors” have universally been using one dominant workflow for decades now (The evolving Avid Media Composer Workflow) it’s fair to ask whether ANY sort of workflow innovation that challenges the existing standards will EVER organically emerge specifically from those practitioners.
We’ve seen the same thing time and time again. Editors saying “give me new capabilities BUT ONLY if you don’t disrupt the processes I have come to rely on to do my job.”
Whatever else you think about it. FCP X took a different path. One of tossing out quite a few of the older assumptions of how an NLE should be structured in order to be more efficient and to remove existing friction in lots of it fundamental operations.
Each editor must judge for him or herself whether the X approach is attractive enough to cause them to learn and adopt the new processes and thinking.
But here we are, coming onto 8 years along – and this thread proves that some individuals that elected to adopt the new processes are having success with this tool – in exactly the same way that plenty of editors are obviously still having plenty of success holding to the classic industry workflows.
So the only thing sure is that those who thought that the X way of editing was going to be incapable of enabling editors to succeed at the highest levels of the industry were patently WRONG.
It’s just now how things worked out.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bill Davis] “Whatever else you think about it. FCP X took a different path. One of tossing out quite a few of the older assumptions of how an NLE should be structured in order to be more efficient and to remove existing friction in lots of it fundamental operations. “
Agreed on all points. However, Apple originally evangelized the product and FCP before that. But for whatever reason – maybe lack of success in this space or maybe change of management’s focus – they have since backed away. I don’t think that helps the people who do feel it’s useful in the film post space.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “So the only thing sure is that those who thought that the X way of editing was going to be incapable of enabling editors to succeed at the highest levels of the industry were patently WRONG. “
Yes and No.
NO, because those jobs in the highest levels of the industry where I live dont exist, so somewhat incapable. But YES in the sense that X isnt going to hold you back from producing content at the highest levels. There are just simply no jobs for it here so unless you re making your own way – its simply not an option.
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This is always a ridiculous idea.
No one cares what NLE was used to make any film. The only folks who find it interesting are the marketing teams at Avid and Adobe.
Tallmanproductions.net |
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No one cares what NLE was used to make any film. The only folks who find it interesting are the marketing teams at Avid and Adobe.
I agree. This article just expresses the feelings of a very seasoned editor about why he exclusively uses FCP X for all his work, which he explains in much detail.
And our viewers love these stories. This case study is by far the most popular one we have ever posted on FCP.co, more than doubling the number of viewers of the case studies we published about movies like Focus and Whiskey Tango Foxtrot. So I think it is pretty relevant to keep publishing these, you may expect quite a few more of them in the coming weeks.
– Ronny
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