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Nothing Is Professional & Industry Standards No Longer Exist
This will stir the crowd:
Seriously, any season pro is smart enough to learn FCP X easily with proper training (just like they did way back when for whatever they’ve been using for the past decade), and anyone who says otherwise is either a liar, or really stupid. -
44 Replies
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The question isn’t if they CAN learn it. Rather, it’s “Why should they?” Apple has yet to give a compelling answer.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Well, he sais “editing is editing, but if you do not edit with FCPX you are chicken”.
Agressive selling techniques.
rafael -
Good point. Who said they can’t learn it?
Of all the negative opinions I’ve come across about FCP X, I don’t ever recall hearing anyone say they couldn’t figure out how to use it.
Some may not like the way things like the Magical Magnetic Timeline work. They understood how it works. They just don’t like it.
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I like this quote even better:
“Apple has a system in place in which we can get what used to be major upgrades as free updates, faster and easier than ever before, that no competitor can yet match today. I just don’t see Avid or Adobe getting updates out this fast, this easy. But I bet you anything, very soon, you’ll see them start to make inroads to this new paradigm, as well as metadata, database centric organizational tools.”
AVID and Adobe don’t need to get updates out “this fast, this easy” because the updates work. They don’t then have to scramble pushing out bug fixes, or adding patches for features they took away, or broke.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Well if it isn’t professional, then certainly we wouldn’t need a professional to teach it to us 😉
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Would like to know how both of these statements can work in the same argument.
“all NLE’s to date have looked and acted the exact same way from the beginning.”
followed soon by
“No tool in any NLE was an “industry standard” because all NLE’s did various things differently with different terms for the tools and processes they used all along, period. There never was any industry standard or professional terminology in NLE’s, ever!”
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
If the point of Mr. Balser’s post were “use what you can to get the result that you need,” I would have agreed. Instead, I read it as an dismissive open letter to anyone who hasn’t adopted FCPX, and I thought it failed to address some of the legitimate criticisms of FCPX.
I lost him on the first sentence:
“In response to an ongoing and lively discussion about how legitimate FCP X is for different types of editing, let me just say, editing is editing, some productions are short and have few assets, some are long and have tons of assets, but editing is editing, period.”
Editing is editing like music is music. Tautologically true, but that doesn’t mean orchestral music is comparable to rock and roll from a technical, tools-of-the-trade point of view.
Why would he reject the notion that different types of editing might have different requirements? When cutting narrative, a dedicated source monitor and a responsive dynamic trim mode are strengths. When cutting graphics-heavy pieces, integration with After Effects might be more valuable. When cutting sports highlights, good metadata drives faster results.
What about the differences between cutting the creative edit and finishing it?
Why should we assume that one tool is the best for all possible editorial jobs?
Another stumbling block for me:
“It is that all NLE’s to date have looked and acted the exact same way from the beginning, and we almost no longer shoot on film, and even tape is getting more rare, but the terminology and workflows still follow the paradigms of negative cutting, which is outdated and doesn’t work for pure digital workflows today.”
Maybe he’s trying to say that bins/folders are an old organizational tool adopted from film editorial, but he overreaches by a mile with the claim that NLEs follow the paradigm of negative cutting.
Finally:
“Anyone who labels any camera, software, hardware, anything as pro or not-pro has ego issues.”
My wife would be the first to remind me that I do in fact have ego issues, but let’s not lose sight of the fact that we’re talking about a product which its developer has named Final Cut Pro.
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 -
Here’s another set of apparent contradictions. I didn’t even have to insert an ellipsis:
“Apple has a system in place in which we can get what used to be major upgrades as free updates, faster and easier than ever before, that no competitor can yet match today. I just don’t see Avid or Adobe getting updates out this fast, this easy. But I bet you anything, very soon, you’ll see them start to make inroads to this new paradigm, as well as metadata, database centric organizational tools.”
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 -
[Walter Soyka] “he overreaches by a mile with the claim that NLEs follow the paradigm of negative cutting.”
My guess is he’s never seen negative A&B rolls in his life. The only film metaphor commonly in use with NLE’s is that of the “bin.” Since film editing was primarily single viewer one could as easily state that FCPX is actually a retro throwback to film editing. One could, but I wouldn’t.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “The only film metaphor commonly in use with NLE’s is that of the “bin.” “
True. Uncommonly though, meaning my own posts and conversations with clients and colleagues, I often use constructions like “digital negative” and “digital workprint” and so far I find it making a lot of sense.
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