-
For kicks: Apple in the medium term.
-
[Jamie Franklin] “With all the cheerleading I have read by those that think it’s Hammer time,”
Ahh, “haters” calling people “cheerleaders” I miss that on here, I’m glad it’s back
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
[Aindreas Gallagher] “Indeed, the re-education is for a very select few.”
Indeed it is.
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
[Craig Seeman] “Sony
a trail of dead formats including D2 and BetaSX”NLE software too. XPRI and a bunch of Fast clones
-
[Michael Aranyshev] “NLE software too. XPRI and a bunch of Fast clones”
I entirely forgot about XPRI. Hmm that says something I guess.
-
[Jamie Franklin] “I still enjoy using 7 whenever possible. The limitations are so well known to me, as to everyone else, that it really is a get in and out experience.
I’m just happy I still have material I can throw in the timeline I am so at ease with. Most NLE’s haven’t come close. I didn’t expect this thing to still be kicking 2 years ago, hence my overzealous fanatical reaction to the EOL. I’m glad I can still produce delivery spec’d quality.
Once I migrate officially to Avid, I know I will still miss this beast. “
I feel this is the problem right here, and that’s perception.
There is more evidence about the quirks of FCPX “getting in the way”, while the limitations of FCP7 are simply old hat and therefore more easily dealt with or simply ignored. If you are sitting with a client and FCP7 crackles when you hit the play button, you stop, hit play again, and say “yeah, it just does that sometimes” and don’t even really think about it. Or the audio is playing what is seemingly the wrong section of the timeline, so you trash the audio render files and start over. Or an XML that can’t handle speed changes borks a Color round trip.
Yet when FCPX hangs for a half second longer than it did yesterday, the confidence is shot and you don’t even know to say, “yeah, it just does that sometimes”.
There is a venerable cottage industry around fixing FCP7’s/FCS’s short comings.
Learning a new NLE’s new quirks takes a long time, and there’s no doubt that a critical eye is automatically put on FCPX, and it should be. Apple killed a giant legacy and is promoting X as the new future with no regard for the past. It better be good, right?
There are many things that FCPX does well. If it’s a “poor editor” for you because it doesn’t fulfill some sort of need, that doesn’t mean it’s a poor editor. I find slogging clips around in FCPX to be much faster than in FCP7. I can also mix and match formats/frame rates with greater control in FCPX and adjust large groups of clips in the timeline in X much easier than 7. There are different definitions of “open timeline” FCP7s is open in some ways, really closed in others. So, I don’t find it to be a poor editor because it actually helps me get my job done better than 7, but I am not every editor so I can’t say what’s best for everyone.
There are quirks, and it takes a little while to learn them, just like any NLE. And in the earlier days, stability was a major concern in FCPX. It’s better now, although there’s still some things to be ironed out.
You could say that about any professional NLE today, no matter the vintage.
-
I completely agree, now when I work with others in track based/bin based workflow it’s crazymaking. I didn’t truly realize the speed benefits of X until I had to go back. It was infuriating at first to learn, but I do like it better.
-
I don’t find it open. I may have an opinion derived entirely from my own tastes, and I have said that many times.
When I cut a sequence, I work with the cliched concept of “it’s in there somewhere”. I drop the material in and go until I develop pink eye. If I feel a sequence isn’t working, I drop in the bits again in the same sequence and cut away. I build my main timeline with the finished drafts and start a new sequence. Tabbing back and forth. Cutting and pasting and massaging. It’s meat and potatoes. Maybe redundant to some, but I work how I want…
I realize I may be unnecessarily hard on X in your eyes, but 7 is more of a sandbox than you give it credit for here. What gets in the way in X is a not perception. It’s impossible to work the way I want to. And the networks of workarounds don’t come into play until I’m re-linking or taking what elements I do need elsewhere. Which is basically the same with any other nle. The wall is in the architecture of X.
I get that you find this tool useful. And I don’t think you are cheerleading it from any other position. You like having it in your arsenal. And I always say it has it’s place. The cheerleading that separates you though (and I wouldn’t even consider you a cheerleader tbh) is those prognosticating that X will move into the temple and cut off the head of the king. And, from my experiences as stated in this thread, the comparisons to early FCP aren’t there. The evidence is not there. Editors that I come across, myself included, don’t have any interest in the way X cuts…FCP in its development years, wasn’t a terrible editor from the beginning. We all discussed it as something to watch and use. It may have had more limitations to the desired work, but it wasn’t cutting you off at the knees when you wanted to find the film you are looking for, you could chip away at the marble, instead of dragging it through a table saw…the bottom line is 7 was inclusive. It is a sandbox.
-
[Jamie Franklin] “I realize I may be unnecessarily hard on X in your eyes, but 7 is more of a sandbox than you give it credit for here. What gets in the way in X is a not perception. It’s impossible to work the way I want to. And the networks of workarounds don’t come into play until I’m re-linking or taking what elements I do need elsewhere. Which is basically the same with any other nle. The wall is in the architecture of X. “
It doesn’t “feel” right. I get that feeling from other NLEs and that instinct is important to the craft.
I could potentially show you ways to work that are similar to what you do in 7, but who cares? It doesn’t matter, and I understand.
[Jamie Franklin] “is those prognosticating that X will move into the temple and cut off the head of the king. And, from my experiences as stated in this thread, the comparisons to early FCP aren’t there. The evidence is not there.”
I have no idea.
Certainly, in the near term, X isn’t cutting off any heads of royalty, except its own. FCP7 still works as do the computers that run it for the most part. FCP7 will be around for a long time yet, as there is currently nothing much like it for custom workflows.
There’s no question that FCP7’s extensibility made it so popular. It is sort of a sandbox, but there are barriers all over the place, and it is those barriers, at least in my work, that are beginning to get unnecessarily high. Creatively, everything around FCP7 is developing, while FCP7 is going to remain still. I feel those walls closing in on me every single day.
I finally had a chance to play with a GoPro Hero3 in person the other day (I know I’m late to the party, I’m sure you know all of this already). It was able to see what it is doing, I was able to menu through the options. I hooked it up to an iPhone and then an iPad, I left it sitting on a table while I ran upstairs and hit record from my f*cking phone (granted the monitoring has a 4 second delay, but still, it was impressive). I downloaded the free Cineform based software and saw what I could do, just through metadata, in the “ProTune” option.
I wandered around the office, I changed recording formats from 720p @ 120fps to 4k @ 15fps, I wore it, I put it down, I let my dog look at it and got his reaction. For the first time in quite a while, I was inspired by what might be. It is a unique tool and the entire support system around it is decently well thought out. It gives you a lot of options in a hyper portable package.
It goes against traditional cameras and doesn’t adhere to normal recording formats. It is small, it is cheap, and frankly its pretty shitty quality if you aren’t in broad daylight, but it is immensely powerful and packs a whole lot of punch in an arrestingly small package especially when you consider 1/3 of the size is the battery compartment. Is it for live TV? Not really.
There is a bit of that in FCPX. For some, there is a bit of inspiration in there, and it doesn’t adhere to a normal. It also is really new software and sometimes, it garners shitty quality, but there are new tools in there. Is it for live TV? Perhaps not, but that’s not stopping people from using it for exactly that role.
While I don’t necessarily cheerlead the application I will, at least in some respects, cheerlead the overall effort.
-
oops mistook you for Steve when replying. You are a cheerleader without question. 😛
-
[Jamie Franklin] “oops mistook you for Steve when replying. You are a cheerleader without question.”
fist bump
Reply to this Discussion! Login or Sign Up