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I recommend everyone watch the entire SuperMeet “sneak”
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okedoke – say what about this use scenario – you’ve got a ten minute interview recorded, you’ve got a rough paper edit of quotes and you’re spooling through to find that section where she backs up an earlier point, you’re going to splice that baby into a 10-15 minute corporate edit –
how is that happening in FCP X? I’m looking at filmstrip, how do I playback filmstrip? how do I set an out, jkl back for sentence start and set an in? In all states of the browser as shown in the screencaps, whether it’s tiles, list view with one filmstrip, or all film strip, I don’t see how I’m doing one of the most basic required tasks – I mean I can’t go dumping ten minutes on the timeline every time i want to pull a quote.
they had ample opportunity to show setting in and out points in a clip viewer – but from the video the clip viewer is definitely collapsed into the canvas, and I’ve looked long at those screenshots – I don’t see any set in point buttons anywhere on that editing system, all I see are imovie filmstrips and yellow bounding boxes – if this is really how it is – apple are completely out of their minds.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Aindreas O Gallchoir] “why are they listing as key benefits auto tools to compensate for shoddy audio and bad camera shake? these are prosumer solutions, is this a prosumer product? What about all the facilities that invested vast amount of money in transitioning to FCP?”
Aindreas,
It’s easy to jump to conclusions when shown so little. Our minds attempt to fill in the blanks and we begin to associate missing and often irrelevant information into something that seems logical and satisfies our desire for resolution.
I suspect that you and anyone else who have already formed conclusions from what they saw on Tuesday are simply filling the blanks with their own versions of reality.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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I agree with you David.
I’m crazy to start working with X. I’ve heard people saying: ” If Apple doesn’t change this or that I will change for another NLE software” … .
I don’t want to do it and by the things that I saw in the video and in the “between the lines” of the speaches, I will not have to do it.MacBook Pro 17″
2.5 GHz Intel Core 2 Duo
4GB 667 MHz DDR2 SDRAM
(2) External HD LaCieMac (400/800 FW and USB)with 500GB -(2) USB External HD Western Digital (in cases) with 750GB
OS X 10.6.5
Final Cut Studio “3” -
almost certainly right there David – if you think I’m freaking out here – you should have seen me on my facebook page yesterday – i was like groucho marx doing the circledance on the floor…
everything you say there is true, and really, as long as I knew I could invoke a separate clip viewer and re-specify tracks for locking, GFX, black bars or whatever, I could go with it pretty happily – also there’s the advanced selection tools, de-magnetising the track, oh wait: i’m freaking out again…
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Ben Holmes] “I get the feeling this is something I’m going to be running on a test system and laptop for a while before it goes anywhere near my broadcast kits – even assuming my third party hardware and plugins all work with it in June, which I doubt.”
I suspect we’ll be hammering at X from lots of directions. However, the fact that it’s new code should make it much easier for the architects and developers to make necessary fixes without working around old roadblocks.
As I said before, the X development team at Apple have to be expecting an initial barrage of fixes and feature requests in the first few weeks and months. So, we here at the Cow need to be prepared to feed them good information so they know they can look to us for help and not just criticism.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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[Aindreas O Gallchoir] “why are they listing as key benefits auto tools to compensate for shoddy audio and bad camera shake?”
This comment, repeated by more than a few on these forums in the last few days, is starting to bother me more than others. I’d really like to see the raw footage from people like Aindreas, which judging from their comments, is shot so perfectly as to never need grading or correction. I’ll assume as well that the audio they get never needs sweetening or adjusting because it’s always perfectly recorded on location. It was stated early on that the auto tools in FCX are nondestructive, so why wouldn’t you at least see what this feature can do to speed up your workflow before calling it a prosumer, iMove feature? And why are people assuming that these features are not customizable? What proof do they have that they are going to be stuck with one way of editing or one workflow?
To answer your question: they listed these features because they wanted to impress upon people the powerful new engine running FCX. In short, they’re showing off, they’re bragging, and if you could see past the hysteria perpetuated by you and others on these forums you might just be a little impressed by the potential of the product. -
no sure tim – of course, I really appreciate hum and pop coming in from STP – its great to sweeten scratch VO’s –
and I’ve had to stabilise plenty of shots in my day – I still tend to wander off into AE for that which is silly.. as for the grading thing –the raw footage from people like Aindreas, which judging from their comments, is shot so perfectly as to never need grading or correction.
that seems a little bit of a straw man to me – i take colour correction pretty seriously, and it’s something I consider at picture lock – I’ve graded HD station Idents shot from coptors in the the Colour Finesse that comes free with AE – I’m not a tool snob, and I actually like nothing more then really getting in and fixing a ton of shots in the three way before walloping into looks – that’s a nice day – what is not feasible, professionally, is hosing all the clips with auto balance and auto contrast at ingest – that’s not a goer as its going to mask my ability to analyse the kinds of issues that might be in the various interior exterior set ups. I just don’t think it’s a professional thing to offer me.but even that’s not my point anyway – my point is the tenor of the conversation from apple – I’ve been working broadcast and corporate for fifteen years now and I don’t know anyone who would allow colour correction, stabilisation and auto categorisation to get blasted on all clips at input – again with face detection – sure in theory it sounds kind of nice and in terms of IV’s maybe its good – but what if you have a two person IV where the b-roll is going from individual reacts to wides to hands – are those bits all going to get sent to different smart tag locations? Given that i couldn’t really rely on it not to have unintended consequences, I’d have no option but to turn all that stuff off and set about carefully assembling and tagging my own bins as I always do. Moreover I would argue that the process of viewing naming and tagging bins is essential to the editing process. It is not a mind numbing chore – it is your first apprehension of the footage, and I make strong initial decisions from my first takes. Ingesting and assembling bins by hand has intrinsic worth.
Ultimately If the updates are going to keep adding ‘let me do that for you’ features, am I just keep finding myself struggling to avoid prosumer tools messing with me, then maybe the product is being pointed at another category? one that rhymes with drosumer?
I’m not even saying there is no worth to the features – but that kind of conversation Apple is having now is different from say – ‘all filters have been recoded for full 32 bit float, legacy filters are easily transcoded, FCP 7 projects are compatible and compressor has been completely recoded to allow use of all cores’
as to the products potential – sure – and in conversation I’ve said that this is maybe like osx 10.2 or something – and I jump on at 10.4 – it ultimately depends on how many mission critical features have survived the new coding, and apple’s commitment to rounding out the feature base.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
The video is now viewed in the canvas window while you scrub on the filmstrip clips, I would imagine JKL works on the keyboard as would i and o, speculation I know but I’m sure Apple wouldn’t change that
Steve Connor
Adrenalin TelevisionHave you tried “Search Posts”? Enlightenment may be there.
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Aindreas maybe you want to watch the demo one more time.
From the first look (nobody has seen a full functional Demonstration of FCPX) the viewer is in the Timeline and Canvas.
So breaking up a clip in sub-clips should be no different as now. Also it was mention you can drive Final Cut Pro X fully with a Keyboard… which I do today. So I can imagine a in and out to timeline function “should” exist.On the magnetic timeline doesn’t Velocity already have this function?
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[Tim O'Grady] “they listed these features because they wanted to impress upon people the powerful new engine running FCX.”
This is such an important point. The feature set for FCPX is certainly important to us today, but its potential is important for us tomorrow.
Technology has changed a lot since FCP’s early development 13-15 years ago, and I think most of the items on the standard list of criticisms of FCP7 can be attributed to its legacy architecture. Making a clean break from that older and limited infrastructure to meet our needs now makes a lot of sense. And there’s a bonus — no more KG Core errors!
While I still have some reservations about FCPX being a 1.0 product — I am trying to withhold judgment until I use it — I am really encouraged to see 64-bit development, the use of Open CL and Grand Central, and the implementation of real color management, a floating-point color system, and resolution independence. A version of FCP8 based on the same core as v7 wouldn’t have made table stakes in 2011, but the features shown in the demo imply a fantastic platform to continue to build on.
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
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