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Is FCPX really worth it?
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[Jeremy Garchow] “Are “the Pros” using DSLRs to make movies? Yes, they have been used in movies and TV, but don’t you think there’s a similarity here? From a production standpoint, DSLRs are completely hobbled, and to make them not so hobbled, you have to bolt on a bunch of third party do dads to make them work sort of like a digital video or film camera, and even then they are still not really up to par. Yet, they are all the rage and obviously good enough for some. Don’t get me wrong, we use them as we have to. They are in demand. Also, we don’t make movies.”
The issue here isn’t whether Pros use DSLRs or (even FCPX), but her perception of FCPX. Frankly, I think most of her stuff will go directly to the web. But like a lot of filmmakers (maybe even myself if I am honest about it), I think she dreams of a showing at Sundance and being hoisted to Hollywood on the shoulders of Miramax execs. And she feels FCPX isn’t consistent with these lofty best-case-scenario goals. (However, even though I’m not sure about studio practices, I’m pretty sure they would want to reconstruct the film from original elements, making the choice of NLE somewhat moot.)
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[Jeremy Garchow] “From a production standpoint, DSLRs are completely hobbled, and to make them not so hobbled, you have to bolt on a bunch of third party do dads to make them work sort of like a digital video or film camera, and even then they are still not really up to par. Yet, they are all the rage and obviously good enough for some.”
I’m not sure that’s an apt analogy. HDSLRs didn’t violate the tried and true concepts and working practices of good cinematography – lighting, lenses, exposure, focus, slow camera moves, etc. They merely brought down the price with many limitations. FCP X deviated from the accepted norms of editing in addition to reducing the price and stripping out features.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Actually, now that I think about it, the one thing she would need would be EDL which FCPX doesn’t have.
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It wasn’t meant to be a perfect match, it was more about the psychology of the whole situation as DRW brought up.
[Oliver Peters] “I’m not sure that’s an apt analogy. HDSLRs didn’t violate the tried and true concepts and working practices of good cinematography – lighting, lenses, exposure, focus, slow camera moves, etc. “
FCPx has audio, video, titles, color correction, the basics of any NLE. You can cut, dissolve and lay things out in time. It does not prevent you from editing anymore than a DSLR doesn’t prevent you from composing a shot.
DSLRs don’t have exposure check (zebras or anything useful besides taking a still and checking a histogram), audio connections, timecode or uncompressed video out.
FCPX does not have video out, industry standard interchange languages or audio tracks.
I think it’s a pretty decent analogy if I do say so myself. 🙂
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[Clint Wardlow] “Actually, now that I think about it, the one thing she would need would be EDL which FCPX doesn’t have.”
Nope, but there’s a program that will translate the FCPx timeline to FCP7 which can give an EDL. $50.
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[Clint Wardlow] “The issue here isn’t whether Pros use DSLRs or (even FCPX), but her perception of FCPX. Frankly, I think most of her stuff will go directly to the web. But like a lot of filmmakers (maybe even myself if I am honest about it), I think she dreams of a showing at Sundance and being hoisted to Hollywood on the shoulders of Miramax execs. And she feels FCPX isn’t consistent with these lofty best-case-scenario goals.”
That’s right on the money. What you’re saying here Clint is what I said from the beginning when I wrote, “YouTubers don’t aspire to remain YouTubers.”
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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[Clint Wardlow] “The issue here isn’t whether Pros use DSLRs or (even FCPX), but her perception of FCPX”
Not just her perception of FCPX but it is of DSLRs. I don’t know how many DSLR kids i have met that constently say the Canon was use to shoot this movie or that movie. why do they say that becasue they want to believe that pros do use DSLRs then in turn they can feel like that are just like them. Perception is a poweful thing. FCPX has the perception that it isn’t High end. while “some” DSLR people have the perception that what they are using is High End.
this is why the perception is that AVID is the king. is it a suprior NLE to all others in the world. i would say no its got its strengths and weakness but the perception is
AVID = Hollywood
DSLR= almost hollywood
FCPX= Not hollywood at allMike Jeffs
Video Coordinator
BYU-Idaho -
[Jeremy Garchow] “Anyone else? Has anyone made ‘the decision’ to switch?
“Like Oliver, I’m partially dependent on client equipment, and many of my clients are heavily into FCS. As, for that matter, am I. On studio work that I cut on my own bench–when no pressing deadline looms–I’ve started to integrate Avid by cutting select reels and rough cuts and then transferring them over to FCS for tightening and finishing. I will probably be comfortable finishing on Avid by next Spring. I will be editing on FCS for as long as there are seats to do so, which I expect will be the next several years. I believe fairly firmly that Avid will retain its dominance here in Los Angeles, and that FCS attrition seats will mostly go back to them. I would be very happy to explore PPro more deeply, if I thought anyone here would take it seriously, and I do not discount that a heavy campaign by Adobe could change my disposition.
Finally, I would be absolutely delighted to be wrong about my assessment of FCP X’s future, though I think the writing is pretty firmly on the wall, and was written with a Sharpie.
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[Jeremy Garchow] “Nope, but there’s a program that will translate the FCPx timeline to FCP7 which can give an EDL. $50.”
Unfortunately, she doesn’t have FCP7 (or really any editing system beyond imovie which came on her mac).
Confession time: one of the reasons I was aiming her towards FCPX is personal. I am sure her movie-making enterprise is going to involve me. Unlike most folks on this forum who make their living editing for hire, editing other people’s stuff generally bores me to tears.
But she is my friend, and I do want to help her. I don’t own FCPX and by convincing her to buy it, I could get a chance to play around in it on her imac while I teach her how to edit. Now I am afraid it is going to be me doing the editing on my system in either Premiere or FCP7 while she watches (I don’t think she is willing to lay out the bucks to purchase the Adobe software and I am not even sure she can get a copy of FCS anymore).
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[Tim Wilson] “Not that the largest response to the original presentation wasn’t positive. It was, no question. But the facts are that many people in that room weren’t convinced.
The fact is also that many of the people cheering in that room stopped cheering when they saw the product. “
Exactly Tim! And, the key thing to remember about the sneak in Las Vegas is that Apple left out some rather vital information; had they revealed the fact that they were going to EOL FCS3 on the very day of their release of FCPX, wouldn’t that have changed the tone of even the most rabidly excited in attendance?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Bringing “The Whale” to the Big Screen:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfitandSuzanneChisholm/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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