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one more kick in the groin.
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[Jamie Franklin] “What would make perfect sense is if it warns you, which it doesn’t, and from the chaps I’ve talked to, it has deleted the source media, and *only* copy…”
I can’t replicate that behavior here. It’s possible there’s some intermittent bug, but if this is unintentional behavior then you can hardly read anything into Apple’s motivations about pro vs. non-pro use from it.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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?
What I read into that is: this is still a beta release. Further justified by the appearence of Apple wanting the community to “help” develop future updates /eyeroll
The pro-non-pro argument is another justifiable criticism with the lack of pro features….Your defense of the platform is somewhat admirable, and when there are jumps to conclusions there is an appreciation on part you correcting them…but, lets call a spade a spade here…this was a horrible release.
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Premiere is every bit as capable as FCP. And besides, it integrates seamlessly with After Effects and the rest of the CS applications.
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Real FCP did not defaulted to either insert or overwrite. You, an editor, decided that for each clip you put on the timeline the moment you were putting it on the timeline. This is The Right Thing. Setting Insert or Overwrite as a mode before you start to cut is the wrong thing, no matter which of them is default. Yes, they’re modal in almost every NLE but it is stupid anyway.
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Really?
Here is one little example that renders the entire app completely useless. Just take a look at the ridiculous audio options. I can choose stereo or surround for my project. That is it.
What if I need to work with 4 channels of audio. Or 8, or 12. And that’s as basic as it can possible get. 2 channel final mix, 2 channel m&e for subsequent dubbing in foreign countries. Or 5.1 final mix AND 5.1 M&E to be laid off to HDCAM-SR. Can’t be done. I cannot even create such a project and export a QT file so I can subsequently output it using AJA or BM tools.
Are you seriously saying Apple didn’t have enough time to implement such “advanced” features and it will be added later on? My take is that they don’t care. It is a workflow the average consumer won’t need so they don’t care. We can do 4k but cannot output a file with 4 discreet audio channels. Hilarious, pathetic. -
Yeah, it is somewhat annoying that you can’t switch modes while dragging. But this annoyance is a far cry from the ‘FCP X is not a pro tool because it keeps rearranging my timeline” talking point we keep hearing.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Peter Blumenstock] “Are you seriously saying Apple didn’t have enough time to implement such “advanced” features and it will be added later on?”
This feature is very much like the other export features related to high-end workflows that are currently missing. Apple, as I pointed out, as a long record of shipping products when they’re useful to a decent number of people (which FCP X is), and not waiting around until they have all the features everyone might expect. The lack of support for high-end workflow features in 1.0 is so comprehensive that it almost has to be a consequence of a deliberate decision to put them off for a later update.
The alternative to to believe that Apple is walking away from the high-end market segment because they’re too lazy to ever add some workflow features that are, in comparison with what they’ve already done (the rendering engine, etc.) pretty easy. That doesn’t seem very believable, especially given that FCP X was first demoed at an event where Apple was actively bragging about its broadcast and post house market share.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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That tears it, I’m going back to Key Grip.
🙂
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[David A Fenton] “iMovie metaphor has been cool for a lot of things, but music video editing seemed way easier in FCP7. I hope FCP X can handle this task.”
Is that a joke?
Wat exactly do you mean?
Sohrab
2.66 GHz 8-core, ATI Radeon HD 4870,
FCS 3, AJA Kona Lhi“The creative person wants to be a know-it-all. He wants to know about all kinds of things: ancient history, nineteenth-century mathematics, current manufacturing techniques, flower arranging, and hog futures. Because he never knows when these ideas might come together to form a new idea. It may happen six minutes later or six months, or six years down the road. But he has faith that it will happen.” — Carl Ally
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There are two things happening here today.
People spending the time to get a good first sense of a new a paradigm and people spreading a bit of hysteria and misinformation because they haven’t.There are a number of initial, mostly in/out issues that will make this a no-go for bigger edit houses and smaller ones that work with a lot of outside sources and clients, multicam work and third party colorists and audio post and partner studios.
I empathize with them. But I also think those issues will be addressed in the near future. For countless creative shops like ours that work completely digitally and handle post all in-house, the new FCPX and Motion are looking really nice. I’ve already assessed a lot of hours per project that the new paradigm will save us, and frankly I hated the media management of FCP and have been aching for a good GUI and fast work flow.
This is all of that and the increase in processing speed is just another of many big plusses.
Ain’t perfect yet but it’s a brand new approach to our craft and a far better one even in version 1.
It’s going to be a great new environment for a lot of us.
Really not too worried about protecting our privates.
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