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Final Cut Pro 7 wishlist
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[Sean ONeil] “It’s still a destructive workflow because you have no option but to render out new QT media. You can’t simply send the metadata back to FCP and relink it (like you can with Motion, Soundtrack and LiveType). The relationship to the original media (and thus the source tapes) is gone.”
Of course because FCP cannot render everything from Color. Wouldn’t want it to. There is simply too much information in Color for FCP to handle. The only way around this is to do away with Color and incorporate some sort of filter in to FCP. That would take away the entire advantage of the application.
I don’t consider that destructive editing. The original media is still intact. In fact your clip in Color is still intact. You can change and re-render the Grade 100 times and it will always reconnect back to the rendered clip in your timeline so long as it’s the same grade number.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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[Chris Borjis] “is that compressor or Leopard though?
I thought it was perfect until the Leopard compatible version of final cut studio was released.
I won’t be running Leopard until thats fixed for sure.”
It was the last pro updates that started causing all the issues here.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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[Sean ONeil] “It’s still a destructive workflow because you have no option but to render out new QT media. You can’t simply send the metadata back to FCP and relink it (like you can with Motion, Soundtrack and LiveType). The relationship to the original media (and thus the source tapes) is gone.”
Sean,
I think what you (and lots of othere) are looking for is the same or similar type of seamless integration that Adobe is now offering. Adobe’s Dynamic Link is a pipeline across their entire suite that automatically passes layered projects back and forth between applications instantly and with a fluidly and seamlessness that FCS2 just can’t come close to now.
There’s no intermediate rendering, no baking of effects or speed changes, and no loss of timecode linking to original media at any stage. Furthermore, the layers remain intact throughout and can be modified at any time in any or all applications, and elements such as text and/or vector-based objects are preserved as vectors that can be scaled infinitely without any loss of quality.
I’m not suggesting that everyone trade in FCP for Premiere right now, today, however, Apple is going to have create a truly seamless workflow for Color as well as the entire suite much like Adobe has now, otherwise it will soon be left in the dust. Apple simply can’t expect its one million users to keep performing inefficient workarounds forever.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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[David Roth Weiss] “Apple is going to have create a truly seamless workflow for Color as well as the entire suite much like Adobe has now, otherwise it will soon be left in the dust. Apple simply can’t expect its one million users to keep performing inefficient workarounds forever. “
Of course this leaves out the fact that Color was first created for UNIX by Silicon Color and never even intended for video color grading or the Mac for that matter. It was designed for film and to compete with daVinci with a reasonable $25,000 price tag.
Then it was ported to the Mac with limited support for Quicktime. Now what Apple can do on the back end to suddenly make it talk directly to a video editing application that it was never designed to talk to, and support all the codecs it can use I’m not sure, but I don’t expect that it will ever be completely seamless unless Apple completely dumbs down the application.
I don’t mind the “inefficient workarounds” for the amazing results I get in Color. The workflow is one reason I still don’t understand why Apple included the app for free in Studio 2. It’s something that actually requires the end user to really think about their workflow BEFORE they start to edit. Not everyone wants to do that so we get a lot of people who complain it doesn’t work like any other App. That’s because it not LIKE any other app.
The workflow between Color and FCP is miles ahead of where it was three or four years ago when I started using Final Touch and it’s a very easy workflow. The only big area I really want to see addressed in Color is support for more codecs natively.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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[David Roth Weiss] “There’s no intermediate rendering, no baking of effects or speed changes, and no loss of timecode linking to original media at any stage. Furthermore, the layers remain intact throughout and can be modified at any time in any or all applications, and elements such as text and/or vector-based objects are preserved as vectors that can be scaled infinitely without any loss of quality.”
I couldn’t find the words. Thankfully you found them for me :).
Sean
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You’re right, I shouldn’t have called it destructive. But about the lack of integration, I think your perspective may be off due to being a Final Touch user before Apple bought it. I’m sure if Apple built Color from the ground up like the did Motion and Soundtrack, things would work much differently. But taking an already finished product probably makes it much harder for them to integrate it.
Sean
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This workflow is great for motion graphics. I’m not sure it’s suitable for workflows in an editing process that requires color correction, where the color correction may take place fairly early in the edit workflow rather than at the end. I think it would simply bog down the editing process.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP6,” “Basic Training for FCS2” and “Final Cut Express Made Easy”
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 4 Editing Workshop” -
* Integrate optical flow retiming into FCP.
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[walter biscardi] “Of course this leaves out the fact that Color was first created for UNIX by Silicon Color and never even intended for video color grading or the Mac for that matter. It was designed for film and to compete with daVinci with a reasonable $25,000 price tag.”
Nope, I’m taking all considerations into account, and I completely disagree with you Walter. There is nothing that can’t be done if Apple decides to do it. No one can dispute that Color yields excellent results, and that has made up for its flaws, so far. But I also think that Color, like all apps in FCS, needs to evolve. Apple will be the next Avid if complacency is allowed to rule the day.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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[Tom Wolsky] “This workflow is great for motion graphics. I’m not sure it’s suitable for workflows in an editing process that requires color correction, where the color correction may take place fairly early in the edit workflow rather than at the end. I think it would simply bog down the editing process.”
Tom,
I understand your case, but the workflow needn’t happen in that manner just because it can.
Adobe actually does like to sell the point that dynamic linking enables editors to do lots of things “as you go,” instead of at the end, but I’m not a big fan of that approach myself, at least in most instances. But, having completely seamless access to all media and to all layers in every app in the suite all the time seems to be something good to shoot for.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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