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Larry Jordan speaks about FCPX
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Yes, clients will also be happy later if you are still on FCP 7, but eventually with the ever changing camera formats it will be un-productive as an editor to continue with FCP7 on projects that require hours of transcoding to ProRes. Although I will use 7 well after the release of X, its the transcoding of material that will decide for me when to move on to X or another.
Victor
http://www.editvictor.com
http://www.hbhm.tv
http://www.itvisus.com -
[Ben Holmes] “FCPX 1.0 “It will not be ready for professional use” says Larry Jordan
Now that’s what I call a “jawdropper”!
”Sounds like an extremely measured comment, designed to temper expectations. As he says, Apple have a terrible track record with 1.0 releases”
Is it me, or is Pro IN the name of the software?! We’ll see what happens, but I feel like it’s a bit of a tease to announce a major release, one that may or may not force us to relearn how to understand and design entirely new workflow, just to have the actual release be a feature-limited preview version of what’s to come when the software is actually ready in 6-12 months. And if that’s the case, what’s the point of all the secrecy? The software will be released, the secrets revealed to customers and competitors alike, and the balloon deflated because we can’t use what we now know is supposed to be there.
I’m also a little bit uncomfortable about the talk of this being a 1.0 release. I would have expected it to be a 10.0 release, and worry that if FC?X is really so dramatically different from FCP 7 to warrant a 1.0 definition, then FC?X is really a new package entirely (which I guess is what was announced at the Supermeet, but I at least imagined that Apple wouldn’t want users to learn a new release from scratch). That would be unfortunately for industry pros that have spent years learning to work with FCP extremely efficiently. If I was forced to learn a new editing package as FCP 7 disappears, I’d rather go AVID and still be able to work while FC?X still figures out what it really wants to be.
Of course… here’s to hoping it’s amazing!
B
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All of which confirms my point of view that for the moment this isn’t meant to replace FCP, but rather Final Cut Express.
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I work on mostly short-form stuff and I keep full backups of all original media. Surely the worst that could happen is that I lose a couple of days work.
Given that FCPX might save me a couple of days just in the first month (rendering time, efficiency of not having to round trip through color and STP for a start) then maybe it’s worth a gamble.
Or is there something I haven’t thought of? Will it steal my car and run off with my woman?
And have I now made disaster a certainty by stupidly asking the question “What’s the worst that could happen?”
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Wow, I can’t believe some of the reaction to this. He simply said it’s a dot zero release, everything is rewritten from the ground up and because of that, it might take a while to get all the features in.
On day 1, it might not be ready to go out and edit a feature. Was FCP 1.0 ready? Not by a long shot.
He says repeatedly that he “doesn’t know enough” about the software to make any long term judgements.
About 6 and a half minutes in to video 1, Larry asked the director of Pro Apps Marketing (Richard Townhill) at a separate Apple event about how this is not iMovie on steroids. Townhill said that they wouldn’t have given the sneak peek at NAB to that crowd, in that way if all they wanted to do was present a new version of iMovie. I am paraphrasing, you can watch the movies to see the details.
Let’s all take another breath. It’s going to be fine. It’s brand new software, there’s going to be some growing pains.
Jeremy
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One of the genuinely interesting moments for me (apart from the “it’s not going to be ready for professional use” one!) was what happened when Larry was asked whether or not you could set In/Out points on the fly …
Seriously long pregnant pause followed by a very vague answer where he was clearly struggling with the limits of his NDA.
This may or may not constitute unwelcome news for those who have been holding out for traditional 3-point editing … though I might well be trying to read too much into too little (but I wouldn’t the the first around here to do that). That being said, there does seem on first principles a world of different that separates the event skimming model from the way most of us have got used to working, and I find it difficult to imagine where they might comfortably meet. For better or worse, I wouldn’t be at all surprised if this isn’t a price we will have to pay to enjoy the “new paradigm”.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Simon Ubsdell] “One of the genuinely interesting moments for me (apart from the “it’s not going to be ready for professional use” one!) was what happened when Larry was asked whether or not you could set In/Out points on the fly …
Seriously long pregnant pause followed by a very vague answer where he was clearly struggling with the limits of his NDA. “
This goes to show how pointless this appearance was – I read that reaction completely the other way to you, that he clearly wanted to say “yes, of course you can, chill out”, but he realised it hadn’t been shown, and he therefore couldn’t confirm (or deny it). You could see him trying out the headlines any comment he made would cause, and wondering if Apple would ever speak to him again.
With the release so close, this kind of speculation seems increasingly pointless. Hell – there’s an entire app out there (Motion 5) that Apple haven’t even acknowledged exists yet. I’d be surprised if there’s not others.
And yes – this is a 1.0 release, albeit built upon code (whisper it) clearly debuted in iMovie. I’d still be surprised to see too much missing in functionality – just compatibility issues to be resolved.
Edit Out Ltd
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FCP Editor/Trainer/System Consultant
EVS/VT Supervisor for live broadcast
RED camera transfer/post
Independent Director/Producerhttps://www.blackmagic-design.com/community/communitydetails/?UserStoryId=8757
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[Clayton Burkhart] “All of which confirms my point of view that for the moment this isn’t meant to replace FCP, but rather Final Cut Express.”
You’re simply wrong about that Clayton. However, if you’re among the small percentage of FCP users working in Hollywood on movies and TV shows you’re most likely not in Apple’s wheelhouse any longer.
What is it that you cut?
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-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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I don’t mean that it is Final Cut Express in a literal way, I mean it from the point of view of the expanded demographic that they are hoping to cater to.
Their intention seems to be to make it a one stop shop and sweep up what would be the profile of a Final Cut Express type buyer with it. It’s clear to me that round tripping from an application like Color is too complicated for that kind of user experience. What people want is an express way to have it all.
Finally, let’s be honest here, apple is not going to make a profit by having Pro buyers pay less, they are going to make more by having amateurs/semi-pro’s take a step up in quality and pay a little more. $199 hence becomes $299. That is the bottom line.
This is not to say that it won’t be more powerful in a lot of ways, that is the force of advancing technology, but this is an application designed to function as an express lane rather than an editing suite.
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[Simon Ubsdell] “One of the genuinely interesting moments for me (apart from the “it’s not going to be ready for professional use” one!) was what happened when Larry was asked whether or not you could set In/Out points on the fly …
Seriously long pregnant pause followed by a very vague answer where he was clearly struggling with the limits of his NDA. “
You’re being ridiculously silly (again) Simon. I’ll bet you $100 right now that setting in and out points on the fly will not be gone in FCP X.
Come on, put your $$$ where your mouth is.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-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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