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My wish is
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I say good riddance.
But I do hope the capability is part of the uber app. From what I discern from the preview is it is integrated.
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To compare Color to the limited color corrector I saw demoed is like comparing a Ferrari to a VW bug. Sure they both are modes of transportation, but the power and scope of one is much more than the other. This is based only on what I saw at the sneak preview.
Tom Daigon
Avid DS / FCP / After Effects Editor
http://www.hdshotsandcuts.com -
Color grading a feature length production would usually involve someone using a control surface as well and even if that level of control wasn’t there out of the gate, I’d expect that will happen at some point.
Basically what we saw was something like Colorista II built in and nothing that implied a full Color grading suite. I don’t see Color going away at all. I think color prep will be much easier in FCPX and round tripping as we know it may be gone but I still expect that will see a full high end implementation at some point. For many, Color is a key attraction to FCS.
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[Craig Seeman] “I still expect that will see a full high end implementation at some point.”
I’m not sure what’s giving you that impression Craig, but I hope whatever is giving you that vibe is going to pay off. I wish I were more optimistic about what the future holds in terms of professional color grading, but I’m becoming rather pessimistic just now.
[Craig Seeman] “Color is a key attraction to FCS.”
Even though that’s true, and even though the Randy Ubilos and his team would acknowledge it, I’m not sure that it means anything to them any longer. The fact that proper professional grading requires time, training, and talent, may be antithetical to what they’re trying to achieve. I hope that’s not the case, but it could be, and I don’t think we’ll really know until they release “X” next month.
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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[Richard Herd] “I do hope the capability is part of the uber app”
Personally I reckon an uber app is the worst possible outcome.
There are very good reasons why compositing, grading, and audio finishing apps look and feel so different from each other and from editing apps. They each have totally different UI requirements in order to maximize the efficiency of their individual processes.
Bundling them all together into one compromise app is going to result in the least best solution for everything. I have no doubt this will appeal to the users who don’t really care that much about dedicated audio or grading or compositing capability (and I totally recognize there are many such FCP users out there), but it will be a sad day for the rest of us – few as we may be.
Almost as sad as the day Apple consigned Shake to the trashcan of history!
But what can you do? No-one can have everything they want …
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Craig Seeman] “I don’t see Color going away at all.”
Do Apple really want to compete with what Blackmagic are now doing with Resolve and the price point they are fighting at?
Maybe … but personally I very much doubt the pro-grading game appeals to them that much any more in the light of these developments. Let’s not forget Color was always just a third party acquisition and there hasn’t been much sign that Apple have embraced its ongoing development very enthusiastically.
But, heck, I sure hope I’m wrong!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Simon Ubsdell] ” Let’s not forget Color was always just a third party acquisition and there hasn’t been much sign that Apple have embraced its ongoing development very enthusiastically.”
What can we actually point to among the Pro Apps that Apple has developed enthusiastically?
Like so much of FCS, Color could really be such a great app if Apple had just made an effort to just get the kinks out.
Many here in L.A., myself included, have noticed a sharp decline in demand lately for professional grading with Color. Have more non-pros finally learned to use it? Has Resolve suddenly become much more popular? Who knows???
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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[David Roth Weiss] “What can we actually point to among the Pro Apps that Apple has developed enthusiastically?”
Yup, totally agree with all of that, sadly. You get the sense that they like the initial idea of being involved in pro-app-Land a lot more than the unglamorous reality of continuous dogged product development.
I mean, what were they thinking when they got involved with Shake, for example? That was never going to work out, was it?! Color seems to be the exact same thing all over again.
STP is another product that could be so good with a bit more care and attention – but I can’t see that happening either.
I do see the so-called uber-app that so many have called for so long simply taking over from the more serious stuff.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Simon Ubsdell] “There are very good reasons why compositing, grading, and audio finishing apps look and feel so different from each other and from editing apps. They each have totally different UI requirements in order to maximize the efficiency of their individual processes. “
I’ve made this comment in other threads as well, but I think that what we’re all looking for is not necessarily a unified application, but a unified data model and media database.
Autodesk has something like this with Wire allowing libraries and media to be shared among workstations on a network, but I’m talking about an even deeper degree of shared data.
FCP, Color, STP, Motion, etc. are all fundamentally applications that store and process information about creative decisions with media clips and effects over time. If they could all “understand” their own parts of the same timeline and refer to media based on a centrally-organized database — instead of each application creating its own separate interpretation of the original editorial timeline — we could have all the power and flexibility that the separate apps provide without all the pain of round-tripping. This would create entirely new workflows and offer new possibilities.
Bonus points if the database is multi-user. The necessity of picture lock before audio sweetening and color grading could disappear entirely. Editorial would be the hub, and the other departments could work on their shots or their scenes throughout the process.
Whether this would be a good thing or a bad thing may be a matter of personal opinion. Whether Apple is pursuing anything like this or not will be evident in another month’s time.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
Those were different and desperate times, when Apple was fighting for survival. Jobs had come back from NeXT and Pixar and saw video as part of Apple’s DNA, and it was going elsewhere. Serious compositing was on the PC. Avid was threatening to go PC only. Adobe took Premiere Pro to PC only. Apple saw high end production as a way to sell high margin desktop boxes, the same impetus that made it buy KeyGrip from Macromedia and turn it into Final Cut Pro.
Times have changed. Apple’s new DNA is mobile devices.
All the best,
Tom
Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 4 Editing Workshop”
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