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I recommend everyone watch the entire SuperMeet “sneak”
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Some random thoughts on all of the sturm and drang about FCP X…
I think it looks pretty interesting. I suspect I’ll feel the same way about the other software in the suite when it hits the bricks. Will I have have to do a lot of relearning? Sure. Will it cost me time and money ramping up and relearning? Yep. Business is business…what are you gonna do? I’ve got computers and software in my storage space that I spent a fortune on that is outdated and useless (don’t even get me going on cameras, lights, etc). That is life in the big city. Figure it out. Adapt. Evolve. Donate. Write Off.
A thought about the event…
What you saw the other night was what we used to call “State Streeting”. I was in marketing for a massively huge consumer products company in Chicago back when we cut our commercials with razor blades, grease pencils, white gloves and movieolas. When we wanted to get a feel for a product, concept or an ad or any other marketing proposition we would mock up a concept board (like an ad) or draw a storyboard, run it downstairs to State Street and show it to people walking by.
Another name was Disaster Check. It was just to make sure we were not full of our own crap and that the product development was fundamentally sound. That the consumer “got it”. There was always more development to be done but this just helped keep us on track.
That’s what Tuesday night (and the selected editor preview a month or so ago) was. Apple “State Streeted” FCP (and FCP only). That’s why there was no Q&A. Why do your think Schiller was there? This was not a product intro. He just wanted to get a feel for things. I’ll wager he may have been thinking…”Looks like maybe 70% love it…and if 30% hate it and threaten to abandon the brand? OK I can live with that since the real market for my brand is the middle (which thanks to DSLRs and the incredible demand for online content) is freaking exploding. I’ll keep enough high profile users like Murch and the Coen Brothers around to keep my brands cred. Don’t want to use FCP anymore and feel like we’ve somehow screwed you? Fine. See ya. Flame me on the boards all you want. Mazel Tov” Cynical? Sure. But at the end of the day…business is business.
FCP (and I suspect FCS in some new form) will sell like hotcakes and Apple will also sell a ton of computers (including more than a few to new Adobe and Avid fans) . I own Apple Stock. I am smiling.
On a similar subject…
Apple may not do focus groups per se…but now WE know which of all of the whiners around here would demand “faster horses”.
Another thought…
The word professional is sure being thrown around a lot in relative to editing software and it seems to me there sure are a heck of a lot of people with a pretty narrow definition of that word. And by narrow I mean the mooks who think if you are not THEIR kind of pro then you must be an amateur. I don’t do what a lot of you do but I make a pretty damn good living at it. My clients pay me a lot to make films for them. I am a professional. Period. Geography, your equipment or the fact that your work shows up in different places than mine does not make you any more or less of a pro than me.
And speaking of my clients, not one has ever asked how much my software costs…because they don’t give a rat’s ass. All they care about is the effectiveness of the films and how much it costs to produce them. $299. Great. My margins just improved.
Thanks for letting me rant…I had some time while my job was rendering. HA!
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Aindreas,
Your assumptions are just that, “assumptions,” and are in most cases they appear to be clearly based on your fears of those things you don’t and can’t possibly know.
Let me give a precise example of what I’m referring to… The Las Vegas “sneak” was shown on a single monitor. Is Chicken Little running all over pronouncing “the sky is falling…,” and is CL declaring unequivocally that FCX has to be a single monitor solution, because he saw only one with his own eyes, or because he didn’t see a second monitor with his own eyes?
The answer is, of course not… One expensive Barco projector was donated, not two, and the guys from Apple showed off their single monitor arrangement accordingly.
My point is, you can make assumptions all day long about what you didn’t see, but those assumption are what your brain is making up to fill the gaps. Whether that has anything to do with reality is a whole different story.
Do you understand what I’m saying?
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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yes indeed sorry – I should really just stick to freaking out on twitter and FB with my fellow editor types in london, although they all think I’m losing the plot a tiny bit too.
Right now I’m this guy:
https://www.youtube.com/watch?v=dsx2vdn7gpYhttp://www.ogallchoir.net
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From what I saw at the demo (all of it). I have to say that what I am most impressed with is the magnetic timeline and the metadata integration.
They took the point of view that the timeline is an editors “canvas” that is where we spend out time. and they built in tools (like auditioning) that mean I do not have to spend time versioning. I can version in the timeline.
I love the waveforms and the audio functionality and I am guessing that if they built it from the ground up OMF and XML are really well integrated (especially with all of that keyword and metadata integration).
I really want to get my hands on it. I think it will be liberating. They took trimming and seem to have advanced it to a new level by letting us see more of the footage. This means that we will spend less time playing back in a trim window and jumping in and out of “modes” a big fat time waster.
I also think they have not unleashed all of the power yet, but based on what I saw there is not really any other NLE that has this kind of timeline power. NOT AVID and not PREMIERE and NOT FCP 7.
We are in for great new times.
To those people want to call it iMovie, talk to Logic owners. They NEW logic interface really streamlined workflow. A week or two in this new software and we will be rocking it.
IN terms of “Professional”. I’m the professional not the software application.
Peace.
David
Peace
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[Aindreas O Gallchoir] ” I don’t know anyone who would allow colour correction, stabilisation and auto categorisation to get blasted on all clips at input “
I think that FCP X does an analysis of the clips on ingestion, so they are ready for correction. I’ve used stabilisation on FCP and that analysis bit takes a long time so anything that speeds that up is a Good Thing.“People detection” for FCP X didn’t quite sound like person detection by face, but that would be handy.
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I reviewed the presentation again per David’s recommendation. This time my reaction is that the application (at this point) is half-baked, and still has a long way to go before it will be ready for prime time.
For example. did anyone notice any transitions on the timeline? We know there has to be transitions, but my guess is that they, along with many other features, are simply not (stably) implemented at this point in time.
I think Apple probably made a mistake showing product this early, and I’m guessing that a June release is far too optimistic. I’m thinking more like a year from now, unless they release a buggy mess.
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i know – you’re right – I presume its just counting heads –
its just that it’s been a joyful season in london watching FCP mushroom into existence all over the place – basically I really don’t want that to go away because post facilities get scared off.In a perfect world this software wins on a photoshop scale level – where it ramps from basic use scenarios cleanly through to the top end, then I’ll like, never have to learn another editing system again, said the lazy man hopefully.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
I saw transitions on the timeline. He put in a couple of Cross-fades.
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they did actually implement transitions on the b-roll “second story” grouping towards the end there.
I’ve been watching the french guy’s video of the demo half the day – here’s one thing that got me – when he’s scrubbing for the skid splash bits and assigning them to the tags – when the canvas temporarily becomes the viewer – the temporary clip viewer doesn’t seem to get its own scrubber, its just the visual output for the scrubbing you’re doing on the filmstrips – I guess what i’m wondering is –
is scrubbing outside the timeline confined to the filmstrip? when the canvas becomes the clip viewer – why wouldn’t i get a timeline strip under it to scrub and set/shift in and out points on.. annnd I’m going headless chicken again.http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Aindreas O Gallchoir] “when the canvas temporarily becomes the viewer – the temporary clip viewer doesn’t seem to get its own scrubber, its just the visual output for the scrubbing you’re doing on the filmstrips”
Hi
Isn’t that what has always happened – on old Premiere 3-6 then FCP? The video output to the (single) broadcast video monitor shows a view of whatever you are playing/scrubbing in the interface?
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