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Questions before Update
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big,
You are correct. My language went a bit too far.
Sorry.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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You telling me that Premier is now calling Core Audio and AV foundation for it’s processing?
If so I’m impressed.
I freely admit I don’t know the other pacakges very well. That’s why I try to stick as close as possible to trying to discuss that features I work with and understand.
If Adobe (or Avid’s) re-builds have put them on a feature or speed equivelence, of if they provide features that FCP-X does not, then you’ll never hear me say that someone shouldn’t follow that reasoning and switch.
The reasoning I do take issue with is the drone of “it’s not professional and you can’t do good work with it because it doesn’t do what I want the way I want to do it.” That’s absolutely correct. It doesn’t. It does a lot differently. So what?
Apples pricing for X seems to have caused at least Adobe to cut their entry price in half to woo new users – so good for the guys who want to switch!
I’m just not one of them. Simple as that.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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Walter,
I’ve found you one of the MOST reasonable and open-minded voices around here. Period.
The “forward looking projections” comment is completely fair as well. So fair that it was echoed by at least one guy I talked to this week who actually does have some invitational access to the FCP-X development thinking. (and who was VERY careful with making sure he spoke only in broad generalities because of that.) I got the “this is the foundation, there’s a LOT more to come” and the “the team was empowered to start to dump any and everything in order to re-consider what was possible and beneficial in the light of where editing is most likely to be going for the greatest possible number of real-world broad spectrum editing tasks (my language interpretations exclusively, not what he SPECIFICALLY said, because as I noted, he clearly took his ND responsibilities very seriously)
The above is not NEWS. Just a veiled distant glance at what is probably going on in Cupertino. And is nothing more than can be seen in the features and the approach in the reality of the FCP-X by anyone who wants to look at it rationally.
So if this “early building blocks” idea i is correct what might it mean?
It appears that the 90 day rapid delivery of XML, STEMS, ROLLS, and new camera SDKs might be an indication that with cleaner base code, there are fewer software interactions to screw up when the code goes in to enable new features – and that may just empower more rapid revision and improvement.
I’m still cutting in FCP-Legacy most days. But my home town studio group is back in session tonight to explore FCP-X – and since the 1.01 rev, I’ve had responses from nearly twice as many people as last time who want to attend.
Momentum for the product? Only time will tell.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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Clearly, Chris, you’ve never needed to re-upholster a chair.
A magnetic tack hammer is PRECISELY the tool you want.
Runs circles around a traditional one and prevents time lost to thumb and finger injuries in the process.
: )
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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[Bill Davis] “You telling me that Premier is now calling Core Audio and AV foundation for it’s processing?”
I’m not a coder, but probably not. But I can tell you it has equal or better performance than FCPX has and it’s had it for at least a year (when did 5 come out? That was the breakthrough moment for Premiere).
Depending on your source footage, Avid has equal or better performance than FCPX it’s still a 32-bit app (P2, XDCam, Red – not so much with .h264). Perhaps that’s why I find it hard to get excited about Apple creating the OS and the NLE and thinking they’re going to tap into some amazing power – they couldn’t do it with FCP, why should FCPX be different? Most other NLEs punched out way more realtime power than FCP ever did, on the exact same Mac. What changed with X that Apple can finally exploit their own OS and hardware better than the competition?
[Bill Davis] “I freely admit I don’t know the other pacakges very well. That’s why I try to stick as close as possible to trying to discuss that features I work with and understand.”
That may be why you receive so many heated responses to your posts. You aren’t familiar with what Avid and Premiere offer, so some of what you promote as groundbreaking isn’t – it’s been available for a long time. I was editing on an Avid directly off P2 cards years ago. Premiere has been editing natively for a long time, burning through .h264 files like butter. All the transcoding you were doing? It wasn’t necessary if you chosen a different tool.
FCPX may well be a great tool for certain niches now and even more in the future. And it’s not about “professionals” vs. amateurs or prosumers. Those words have been beaten up and skewed so much lately they’ve lost their meaning. It’s about being familiar with what FCPX does different and measuring it against what the alternatives do. As you stated:
[Bill Davis] ” It does a lot differently. So what?”
The “what” is, does it do them more efficiently? If you’ve only ever known FCP, absolutely (minus the obvious things missing like monitoring and multicam – Apple has said they’re coming). But if you’re familiar with Avid or Premiere or Vegas or Edius or Media 100 you’re looking at it from another angle, and perhaps it doesn’t do a lot more efficiently, or not efficiently enough to warrant learning a new language and a new way to edit.
As to Adobe and Avid temporarily lowering their prices – that’s what’s great about FCPX whether it works for you or not. It’s lowered the cost barrier even more, for at least a little while. And means we all win.
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Michael Hancock
Editor -
Bill,
That was a very articulate answer to a question that no one has asked. You answered the question “what specific features do you see FCPX having that FCP7 doesn’t have?”
The question Marvin asked was:
“Exactly what specific features do you see FCPX having that no other NLE has?”As far as I can see your San Diego shoot could have been edited on PPro just as quickly and easily. So unless there was something specific about either the keyword tagging, the auditions, or some other feature of the magnetic timeline that sped your edit up more than cutting in PPro’s more traditional interface, then the question again is what is the advantage of FCPX over all the other NLE’s. Comparing it to the corpse that is FCP7 is not really the point.
Herb Sevush
Zebra Productions -
[Bill Davis] “Clearly, Chris, you’ve never needed to re-upholster a chair.
A magnetic tack hammer is PRECISELY the tool you want.
Runs circles around a traditional one and prevents time lost to thumb and finger injuries in the process.
: )
“Actually, Bill. As you often do, you make some pretty large assumptions on very little data. My grandfather was an upholsterer, and I spent many years in his shop helping out. My attitude to editorial detail probably comes from my days in his shop. My mother–as a hobby–continues to reupholster regularly. I’m probably far more familiar with a tack hammer than you will ever be, though I certainly cannot say that for certain, as you may have your own story about upholstery. One of the things I would have to say about tack hammers–and remember, this comes from years of experience–is that, despite their extreme usefulness in specific instances, they are fairly useless if not completely useless in most other applications.
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Fine Herb,
That just means that I was able to use the $299 tool instead of the $999 one (499 for a limited time) to do the same work in the modern, agile style.
I’m not forced to buy a suite of tools (and pay for access to them) that I’m not likely to use.
I can live with that.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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After 2 years of development taking another 90 days to add on some absolutely basic features that have been standards around the industry for over a decade is not all that impressive. How long will it take them to add multi-cam and video monitoring, and thereby get to where they should have been to begin with – another 6 months? Good, at this rate they will have caught up to where the competition was a year ago by next year – if they keep up that rate of improvement they will actually become an NLE leader by the time the sun goes Nova.
Herb Sevush
Zebra Productions -
Agreed.
An in fact, if you’re making 1000 chairs a day, the proper toolset is likely going to be a big-assed compressor and a host of workers weilding penumatic brad guns.
The best tool benches feature a broad range of tool choices that the artist can pick and choose in order to scale their efforts to the scope of the tasks at hand. Something I suspect your grandfather would have understand perfectly.
I don’t have to have upholstery professionals in my family to understand that.
And to understand that there are likely more people who will benefit from a CHOICE in NLE editing platforms just as the woodworking industry benefits from not having all chair builders go to the store and be forced into a choice of BRAND of big compressor systems, rather than having a wider range of toolsets including some specialty tools that work better for particular uses.
FCP-X represents a very different choice.
That can be nothing but good for editing in general, whether it’s adopted by millions, thousands, hundreds or dozens.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor
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