OT: Anyone know who put together the John Lewis Penguin spot?

[Bill Davis]

There’s also the presumption that working on a spot with a production budget if £1,000,000 (in support of a media budget six times that) the editorial tool would need to be fully professional. I only posted the original comment because I thought the Final Cut reference might speak to the continuing false impression that X is not being taken seriously for high end editorial work. As noted, I got fooled by the editorial shops name. So at the end of the day, it’s left as what it is. Extremely high level collaborative work done by highly qualified professionals who have been given all the resources they need to do the best work that they are capable of.

Worth celebrating for what it is.

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.

[Tim Wilson]

[Bill Davis] “This thread could not possibly be more “on topic.””

I hope I didn’t imply that this is off topic! It’s absolutely ON topic!

On any of a dozen different topics. 🙂 But certainly this one.

And while I stick by my point about Media Composer being the “most” present of NLEs with a presence, I certainly agree with you that X in particular has a presence. I think over time, it will have a greater presence than FCP did.

The problem with FCP is that it didn’t offer anything fundamentally different. It simply didn’t move the needle enough for people in this slice of the market to change what they were doing.

*IF* one is inclined to change — and I continue to believe that this is almost entirely a matter of psychological makeup, rather than age, objective evaluation of features, etc. — X is the one that’ll make people reassess their next move.

FCP was never ever ever gonna do that beyond a small handful of cases, MOST of which I think were driven by the “not Avid”-ness of the thing. X offers advantages that FCP never did, which is why FCP never got the traction in reality that many people here seem to think it did, and why I think X has a better shot.

Which is my characteristically long-winded way of agreeing with you that “if London, then Media Composer” doesn’t fly…but the assumption that Avid is in any way done or dying in places and jobs like this doesn’t fly either. Hence my language that it’s the “most” present of the ones (plural) that have a presence.

And agreeing with others on thread — there’s a reason why their website contains one sentence on the subject, and only in an interview reposted from another site. It’s not an issue in the context of the company’s creative approaches.

But here? Very much on topic. 🙂

[Bill Davis]

[Tim Wilson] “The problem with FCP is that it didn’t offer anything fundamentally different. It simply didn’t move the needle enough for people in this slice of the market to change what they were doing. “

Agree wholeheartedly, Tim, with nearly everything you wrote.

Except the above small point.

I still think X does offer something fundamentally different. The fundamental change Apple understood was the movement of metadata away from the peripheral of editorial and into the CORE of the entire software approach – and (and this is critical) allowing the EDITOR control of it.

This can’t be overstated because it’s what enables the entire web-centric video model to operate. Yes, the other A’s “do” metadata as well. But not inside the software and directly at the users fingertips in the same fashion. They weren’t ever built to let the user edit in BOTH the visual and metadata realms naturally and organically in one space. Only X was re-coded to do precisely that.

And combining both visual, audio AND “metadata management editing” directly inside one program IS a change in what editors have historically done that is TOTALLY worth changing for, IMO.

I was just watching Michael Cioni’s (Lightiron, LA) LACPUG presentation from last month. I’ll find and post a link to it on the forum later. He talks about how fundamental metadata gathering and manipulation changes production efficiency. He did this talk AFTER his shop did the post on Gone Girl via Premier as well as the post on FOCUS via X. So he’s the guy in the deepest trench needing to make all this work. THIS type of metadata centric thinking was, IMO, the underlying reasons for most of the changes in the FCP X re-build. Move metadata out of the periphery – where it’s traditionally lived – and bolt it directly INSIDE the editorial workflow.

FWIW.

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.

[Steve Connor]

[Bill Davis] “[Tim Wilson] “The problem with FCP is that it didn’t offer anything fundamentally different. It simply didn’t move the needle enough for people in this slice of the market to change what they were doing. ”

Agree wholeheartedly, Tim, with nearly everything you wrote.

Except the above small point. “

I think he’s talking about FCP Classic, not FCP X

[Bill Davis]

[Steve Connor] “Except the above small point. ”

I think he’s talking about FCP Classic, not FCP X”

Ah,

I try not to think about FCP Legacy anymore. Way much pain from the last time I had to open it up and help a new client with the transition to X. Legacy feels so frustrating and constrained to me now. But that’s me. Others continue to love it and I get 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.