-
Is anyone using FCPX for movie trailers yet?
-
[Simon Ubsdell] “the “feel” of actually cutting on the timeline”
Yep!
-
no absolutely – that’s a dandy answer – that you genuinely plop for the timeline in operation is worth broadly noting –
I’ve ran a rant on bloody mindedly learning Avid, and roped a bona fide avid long form poor sod in to tutor whatnot, and avid themselves are throwing training material like confetti with the promax stuff..
but – i swear – being a pleb who started editing via FCP from a design background, avid is just wrecking my head – I’m flagrantly editor-lite at the best of times relative to some of the hard core practitioners – but in terms of editing reactively relative to messy broader workflow; chaps throwing AE bits to you/you messing in AE and roundtripping type concerns – avid just feels nitrogen heavy – all you’re breathing in is extremely specific editing exclusive workflow conception and methodology – although i get that it rules in scripted drama as a cutting tool. After watching examples why. their trim tool is awesome.But I sort of find it near impossible to see Avid replacing historical FCP as that broadly understood interplay editing component?
And that component is about everywhere these days. Because that actually was FCP. Before They Killed It In Cupertino While Eating Baby Lobsters.
Pause.
Still: three editing system providers are way, way better than two, said, like, Sun Tzu.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
[Aindreas Gallagher] ” avid just feels nitrogen heavy – all you’re breathing in is extremely specific editing exclusive workflow conception and methodology”
Sorry to hear AVID is still giving you grief – you’re absolutely that it’s a very closed environment compared to FCP and I don’t think they’ve got AMA sorted yet enough to begin to start matching what you could do linking to external files in FCP.
And how about that the title tool is a separate app within the app, or rather two separate apps within the app if you can even begin to think of using the horror that is Marquee – if ever there was an app designed to repel anyone with a feeling for graphics design, that is the one! And you even have to launch a separate app to get a bleeding EDL out of the thing – after all this time. Why the AVID community stands for this sort of nonsense is anybody’s guess, but they’re generally a very docile sort of crowd who are happy for things to stagnate decade after decade.
But at least they don’t eat baby lobsters in Massachusetts.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Simon Ubsdell] “Sorry to hear AVID is still giving you grief “
fear not bud, I am barely trying. I’m still mostly strapping on a colostomy bag and refusing to move in any direction.
It is hard to see avid though, for the likes of lowly me – avid is just nuts – they just heralded the coming of tabs.
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
FCP, and now FCX have YET to herald any sort of usable trim mode.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
I don’t get why avid give you such a fuss. I started on Media 100 in the late 90’s (in school) then went to final cut 5-7 and then to Avid. The only thing I really miss in FC is the compositing within the NLE, which you can’t do in Avid and the automatic pairing of stereo tracks when mixing. Outside of that, I watched a few videos and cut a feature on Avid for a job, without even touching it beforehand. I always stayed on the keyboard in FC, and I find a lot of drag and drop Final Cut users have the hardest time learning Avid.
Oh yea, I miss being able to track forward to close a gap, but I understand why this can’t work with Avid trimming, and I’ll take the trim tools over what the other NLE’s have to offer any day of the week.
I’m not sure why people don’t use Avid FX for Titling over Marquee. It is very similar to AE and maybe even a cross between AE and Motion the way FX work on the timeline track. There is absolutely nothing you can’t do with text in Boris Red (Avid FX). As I learn it more. I’m finding that using it for compositing is also far greater in terms of flexibility and features then FC (legacy) as well.
-
[Shane Ross] “I know of no one in the professional LA market considering FCX for anything.”
You may not, but I do system engineering for companies all over Los Angeles, I can personally tell you with 10.0.3 the flood gates have just opened. I recently spoke over the phone with a good friend who is a senior post engineer at a very large media company, and in a few weeks they will be pulling the trigger on FCPX company-wide.
While I agree that it isn’t ready for certain segments, FCPX is absolutely perfect for many companies that have high-volume, rapid-turnaround environments with hundreds of editors in locations all over the world.
In one year FCPX will be everywhere you look.
JM
-
[Jason Myres] “[Shane Ross] “I know of no one in the professional LA market considering FCX for anything.”
You may not, but I do system engineering for companies all over Los Angeles, I can personally tell you with 10.0.3 the flood gates have just opened. I recently spoke over the phone with a good friend who is a senior post engineer at a very large media company, and in a few weeks they will be pulling the trigger on FCPX company-wide.
While I agree that it isn’t ready for certain segments, FCPX is absolutely perfect for many companies that have high-volume, rapid-turnaround environments with hundreds of editors in locations all over the world.
In one year FCPX will be everywhere you look.
JM
“Sorry, Jason. I got a back what Shane is saying here. I have many contacts at Studios, Networks, Cable Channels, Post facilities, and boutique houses and NOBODY is saying what you are. It’s not that there isn’t some interest, but its tepid at best. I don’t mean to be confrontational, but I’m just not seeing it. What is your definition of a very large media company? Mine would be Warner Bros., Sony, Paramount.
-
[Chris Harlan] “What is your definition of a very large media company? Mine would be Warner Bros., Sony, Paramount.”
I’d say Jason is not talking about a movie studio or anything like it to judge from his description:
“a very large media company”
” have high-volume, rapid-turnaround environments with hundreds of editors in locations all over the world”
This sounds much more like a news outlet than an entertainment company and FCPX does fit the news editing model pretty well.
My point in starting this thread – and with your experience I think you will appreciate more than most what I’m saying – is that there are many, many requirements that trailer editing (and its associated disciplines) impose on the editor in terms of interfacing with the outside world, most particularly in terms of audio, that really fundamentally rule FCPX out of the equation as it stands.
Even for those like me who quite fancy giving it a go.
My work is now largely for independents who have far less exacting technical demands than the major studios and are lighter on their feet with new technology and trimmed-down delivery models. DCP finishing of trailers does change quite a bit of the post landscape and will continue to do so as film dies its sad and increasingly rapid death. All the same, the limitations are still very much there both in terms of what you need to get in and out of the NLE (and currently can’t) and what happens on the timeline.
The concurrent discussion about multi-track audio in FCPX definitely touches on this area. Most of the source audio we use is multi-track, where you are not simply cutting one “lane” of multiple tracks but several at once. I’m not at all sure that FCPX is capable of dealing with this to the required level as it stands.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Simon Ubsdell] “I’d say Jason is not talking about a movie studio or anything like it to judge from his description:
“a very large media company”
” have high-volume, rapid-turnaround environments with hundreds of editors in locations all over the world”
This sounds much more like a news outlet than an entertainment company and FCPX does fit the news editing model pretty well.”
I can certainly see a news outlet strongly considering it, especially one that is not traditional broadcast, and doesn’t have tons of footage currently tied to an Isis install. How is the X database working with centralized servers at this point? I haven’t been following that recently. Can you currently build a huge metadata organized library full of clips that bazillions of people can access in tandem? Or is that still in the promise realm?
I do agree that X could be super fast as a news cutter.
[Simon Ubsdell] “My point in starting this thread – and with your experience I think you will appreciate more than most what I’m saying – is that there are many, many requirements that trailer editing (and its associated disciplines) impose on the editor in terms of interfacing with the outside world, most particularly in terms of audio, that really fundamentally rule FCPX out of the equation as it stands.”
Very true. It will probably be a long while before it can service my niche properly, but I am enjoying watching all you guys use it, and am looking forward to some time to actually play with it. I certainly can’t argue with the number of people who are enjoying the interface.
[Simon Ubsdell] “The concurrent discussion about multi-track audio in FCPX definitely touches on this area. Most of the source audio we use is multi-track, where you are not simply cutting one “lane” of multiple tracks but several at once. I’m not at all sure that FCPX is capable of dealing with this to the required level as it stands.”
Agreed. I’m regularly working from source files that have 4 to 16 tracks, and I wouldn’t even know where to begin.
Reply to this Discussion! Login or Sign Up