My major beef

[Robin S. kurz]

[Steve Connor] “and it only took them 5 years :)”

[Herb Sevush] “I apologize if my dislike of hyperbole rubbed against your sense of victimization.”

https://www.youtube.com/watch?v=Zb80mQoAAzQ

Which once again proves brilliantly, that I’M clearly the one with a “sarcasm and condescension” issue. Thanks.

It couldn’t possibly be anything else playing into it on their end: https://bit.ly/1QjHPfs

😀
– RK

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[Steve Connor]

[Robin S. Kurz] “Which once again proves brilliantly, that I’M clearly the one with a “sarcasm and condescension” issue. Thanks.
“

I guess you just bring out the best in people

[Bill Davis]

Can’t find ANYTHING to argue with in your post.

Please stop that.

; )

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

[Bill Davis]

The word from Apple at the creative summit has been the same word we always get when we ask about specific features: “We’re aware of that.”then silence.

So I know nothing beyond that.

Apple, of course, since X v1 has allowed you to do inserts of video only or audio only with a simple Shift 1, 2 and 3 – so the IDEA of limiting an action to one type of content is already baked into X.

And separately, of course, some type of roles based mixer has had a hallowed place near the top of Richard Taylors features request list for years now. And it’s a fact that Apple is aware of THAT as well.

And Apple was just VERY recently awarded that patent for audio mixer technology inside a video NLE.

So decoding the breadcrumbs as always, is what remains.

And I don’t now about you guys, but my historical batting average on decoding Apple clues about features to come wouldn’t even get me picked LAST for a little league team.

And so it goes.

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

[Andrew Kimery]

[Bill Davis] “1. Nothing wrong with classic approaches – in their place. But it still don’t want my barber doing my surgery.”

I dunno, if he’s steady with a straight razor I’m sure he’s steady with a scalpel. 😉

[Bill Davis] ” You can keep spinning that the X glass is always half empty – but what’s still IN the glass remains singularly refreshing! Also half a glass allows for more to come – so there’s that. ”

I’m less of a glass half empty/full type of guy and more of a hope for the best, but plan for the worst type of guy. It’s a glass, it has water it in, hopefully it has enough but if it doesn’t I’ll have a plan for needing less water than anticipated and another plan for getting more water than we currently have. Speaking of water, you should see me plan for backcountry day hikes (I basically assume someone is going to be injured and alone in the backcountry for 8-12hrs w/o cell service, and possibly into the night, while their buddy hikes back to civilization for bring back help and I pack accordingly).

But I digress…

X is what it is, my workflows are what they are and when I think the two are compatible I’ll put them together. My basic outlook on the situation hasn’t changed from the day X launched. When I think it will meet my needs I’ll use it. Feature-wise it’s there for some projects, but another one of my needs is the ability to pay my rent and there aren’t many gigs in my corner of the world looking for people to cut with X. It’s Avid and a quickly growing amount of PPro. If X was a prime mover in my neck of the woods of course I would’ve learned it by now.

A couple of years ago I was getting ready to use X on a feature doc I was doing as a side project but life happened and I ended up using PPro instead. Now that I have a couple of years of PPro under my belt I probably going to use my next side project as an opportunity to learn X (assuming I don’t inherent a project started in another NLE).

[Bill Davis] “As to your last point, someone smarter than me suggested it’s a bad strategy to make perfect the enemy of the good.
“

I’m always up for a good plan today instead of a perfect plan tomorrow, but my last point wasn’t about good vs perfect it was about using the best tool you have available.

[Bill Davis] “Can’t find ANYTHING to argue with in your post.

Please stop that.”

Yeah, I think Herb said it best.

[Bill Davis]

You might give a listen to Richard Taylors FCP X Radio Show this week and his interview with Nuno Bernardo who is the CEO of a company that produces a lot of TV work in Europe.

https://fcpradio.com/episode007.html

It kinda follows the same pattern I’ve been talking about for YEARS now.

A working pro tries X and hates it. Something manages to pull them back to it – and it ends up being, hands down, their favorite NLE.

Perhaps pay particular attention to the part where he talks about supervising sessions with editors working with AVID and Premiere Pro. Hear that discomfort? That’s the heart of what I’ve been talking about for years here.

If I had a dime for every story like this I’ve heard, I could buy myself a REALLY nice pair of socks.

The thing is SOMETHING has to break an editor’s resistance to X, because it’s so easy to simply “imagine” that it’s not going to do what you need it to do.

And then you remain unable to accurately conceptualize what you MIGHT be missing.

That’s all.

Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

[Andrew Kimery]

[Bill Davis] “You might give a listen to Richard Taylors FCP X Radio Show this week and his interview with Nuno Bernardo who is the CEO of a company that produces a lot of TV work in Europe.

https://fcpradio.com/episode007.html

Thanks Bill, I finally had a chance to finish listening to the podcast. It does sound similar to other profiles I’ve read/heard too at places like FCP.co.

What struck me the most about it was the things they discussed were many of the same things we discuss in this forum. Everything from sought after features such as a roles based mixer to the possibility of Avid-like multi-editor support to questioning Apples commit to the ProApps (and wishing Apple did more publicity to support X). The most serendipitous comments though were about missing features in the early days (such as multicam), how useful being able to force re-link would be, and a desire for Apple to loosen the handcuffs a little bit and give editors more options for control (all things that have been talked about this week alone here in our lovely home away from home!).

It’s funny that the Nuno mentioned starting to cut home movies in X because I just did something similar recently and I have to say out of the box X has the best UI setup while using monitor (especially a small one like on a laptop). With that being said, PPro fits nicely on the 5K iMac i’m using at work right now. And I’m not meaning to insinuate that X is only good for home movies, it’s just an opportunist way for me to get my feet wet right now.

[Bill Davis] “The thing is SOMETHING has to break an editor’s resistance to X, because it’s so easy to simply “imagine” that it’s not going to do what you need it to do.”

Agreed that some disruption or break has to occur to help be a catalyst for change, though t’s not unique to users coming around to X. I saw similar things 13-14 years ago with FCP. Pretty much every Avid shop I worked at had FCP installed on a computer in the corner to mess around with and editors had it on their home systems (who could afford an Avid at home in those days?) but no one ever really considered using it for work until it got more features and something happened for them to think “well, maybe it’s worth giving a shot.”

The Mid 2000’s seemed to be the tipping point for this (at least around LA). FCP became more feature filled, people had been using it on the side and were becoming more comfortable with it, HD was becoming the norm and Avids still cost an arm and a leg. For example, Shane Ross, IIRC, talked a company into using FCP over Avid because they were shooting on P2 and FCP had a much better workflow for P2 cards. I was at a post house that used Avid but they wanted to starting finishing in HD so they bought a single FCP station for that purpose because it was so much cheaper than Avid’s offering at the time. Heck, I had always had Windows computers growing up (even built them as a hobby) but I ended up picking up a Mac just for FCP.

For a more recent catalyst, if Apple had released FCP 8 how many people that switched from 7 to MC or 7 to PPro would’ve still done so? My guess would probably be zero. FCP users would still be imagining that Avid was an ancient, overpriced piece of crap and that PPro was this thing bundled with After Effects that only alcoholic wedding videographers were forced to use because they couldn’t run FCP on their $499 Dell Windoze machine. It’s very telling of Apple’s presence in the NLE market to say that the biggest break Avid and Adobe got in the last 15yrs was Apple EOLing FCP 7.

I found it interesting that Nuno (who sounds like he has a much deeper color grading background than editing background) still prefers using Resolve for color grading. Between ingrained habits and the more nuanced tools that Resolve offers he doesn’t see grading in X as a better option.

Some obstacles are imaginary and some are real.

I used to grade a lot in FCP and Avid because I had no other options (this is before Apple Color and free Resolve) but I eventually became proficient at Apple Color and then going back to grading in an NLE felt incredibly cumbersome. I later acquired a hardware panel to use with Apple Color (a-maze-ing) and then using a keyboard and Wacom to grade in Color felt incredibly cumbersome and grading in an NLE felt downright barbaric. Maybe when I start using X more I’ll have the same feeling with regards to editing. Maybe not. Time will tell.

Though unless we get a time machine and change history (or start an alternate reality timeline) I’m always going to be fairly confident that when X launched it would not have been a good fit at my job at the time where we had a 25 seat Xsan and required things like tape I/O (not FW), quality baseband video out for color grading if using the NLE, round tripping to Color, round tripping to Soundtrack Pro, etc., Later versions of X? Sure, they could’ve been a contender. Like Nuno said, it took a few releases before X started to become really viable (heck, didn’t the Radical Media team run both Legend and X for years and they were on Apple’s In Action page).

[Bob Cole]

I like Bill’s point. Actually, not his point, but his refusal to see things from only one point of view.

To take a totally non-video angle on it… I interviewed a law professor who specializes in the rights of the handicapped. She mentioned curb cuts — those little ramp-like things that enable people in wheelchairs, or people who have trouble negotiating steps, to cross the street. Her perspective was that curb cuts were not an “accommodation” to the disabled – they were the correct design choice in the FIRST place. It’s all in how you perceive it.

That said, I think that dissolving audio in lockstep with video is crazy.

But again – I like Bill’s point of view.

Bob C

[Andy Field]

not that interesting a question when you consider we’re talking about EDITING — taking something shot and putting it in a different order – isolating video and mixing it with different audio sources or the other way around. Virtually every other NLE allows keyboard or right click shortcuts to chose an audio or video dissolve — several years out FCP X still makes this a Texas Two Step

Andy Field
FieldVision Productions
N. Bethesda, Maryland 20852

[Andy Field]

we used to be able to just control click on the audio or video or unlink the two with a keyboard short cut – add the effect – done

is it that hard to put that into FCP X when it’s something most editors do every day?

Andy Field
FieldVision Productions
N. Bethesda, Maryland 20852