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Final Cut Pro 7 wishlist
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Nameable tracks,
Adjustable track stacking,
Import bitmap sequences (although I guess using Motion for this is almost as easy)
Disableable background rendering. (heavens my beloved Fast601 had this eons ago!)Alan
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[Sean ONeil] “16) Timecode display during capture and ETT”
A big Amen!
Been wishing for a FAR better interface for capturing & outputting to tape for ages. (Sent that request to Apple through the official channels ages ago.) With long captures and especially outputs, the user has little/no idea where they’re at timecode-wise.Neil.
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Hi
As its been explained to me, Adobe’s modus operandi is to integrate the SAME underlying ‘video/graphics engine’ – with a unified code-case, across all its programs, in all the apps that make up its software suites.So there’s no ’round-trip’ workflow ever – all the different applications are just different-functionality user interfaces, used to manipulate the same media assets, with the same underlying common unified-code engine.
So all the work is done in one place. Nothing is ‘passed’ anywhere.
How cool is that as a future-proof strategy!Once they’ve got it all to work properly – Apple and Adobe share the mammoth task of rewriting all the old legacy Carbon code into future-proof Cocoa (+ 64-bit).
Apple haven’t just got FCS to do. they’ve got QuickTime to update as well – though that has to be well underway to get the iPhone working 😉
90% of the things people are asking for can’t happen until FCS’s code-base is made ready to allow it to happen.
The crunch question is whether Apple will take on the challenge that Adobe is setting with its Suite integration… -
[Sean ONeil] ” 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.”
Absolutely, it’s easy to integrate when you make the software yourself or at least if it’s a Mac centric product before you take it over. But a product that wasn’t even designed for video grading, the Mac or even Final Cut Pro to begin with, takes a while to make it easier to work with.
I find it interesting that Color essentially has not been updated for about 16 months now. That either means they are stripping away everything they want from the app to make a new filter set for FCP or they are re-working the entire app to make the integration more seamless.
Adobe has definitely set a high bar for integration. Not sure what Apple’s response will be.
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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[Tom Wolsky] “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. “
That would not be a good workflow. Grading should always be the last thing that happens, along with the sound mix.
One big thing about Color that most people don’t realize is that it picks up the 3 Way CC information when you send your timeline to Color. So if you want to do some preliminary grading while you’re editing, you can just use the 3 Way and then at the end send your project into Color and your preliminary work will still be there.
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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Wishlist Item # 100:
For Apple to read and react.Richard Boghosian
Bogh AV ProductionsFCP 6.03 Intel 2.8 8 Core Apple X-Raid and Atto SCSI UL5D Kona LHe
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How do you grade material that’s being sent to Motion or LiveType or being integrated into titling sequences or composited and need to match corresponding material that’s not being sent to these applications? When do you grade them?
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” -
[Tom Wolsky] “How do you grade material that’s being sent to Motion or LiveType or being integrated into titling sequences or composited and need to match corresponding material that’s not being sent to these applications? When do you grade them?
“At the end of the process. Since those are generally evolving during the project, I would build rough title sequences and when we have picture lock on those, then I would grade the footage and replace the original media in the projects.
I do this all the time with After Effects as we rarely use Motion except for particle generation and even more rarely LiveType.
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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Just fix what’s busted and deliver on the endless list of broken promises.
I’d even pay forit.
bogiesan
This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”
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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.”
I have a client right now who wants to see serious color grading during the creative process. It’s very frustrating. The term “picture lock” isn’t in their vocabulary. They’ve been making changes to the script after asking to see it color graded.
And then there’s those who do an offline/online workflow. If you offline in ProRes but want to finish in Uncompressed, and you have a client like ours, obviously the current workflow for Color is a serious PITA.
Sean
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