Reconsidering FCPX in Hollywood

[Scott Witthaus]

What? No LA guys/gals debating this? I got a feeling this guys is NOT going to invited to Avid Connect next year! 😉

Scott Witthaus
Senior Editor/Visual Storyteller
https://vimeo.com/channels/1322525
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter

[Simon Ubsdell]

One can’t help feeling that if, more than two thirds of the way through its probable lifecycle, you’re still having to proselytise for a product to this degree to a particular market segment, then something is not quite fitting at a basic level.

There are many things I like and admire about FCP X but only the most starry-eyed enthusiast will try to dispute that it really hasn’t taken off in the traditional NLE market.

And maybe that speaks to its very real and very impressive strengths, which are elsewhere.

Obviously there is no good reason from the point of view of most aspects of functionality that it’s not competing at this level by this late point in its development, but perhaps we have to face the fact that some indefinable spark is missing.

Like most relationships, if the magic isn’t there, it’s probably never going to happen.

Simon Ubsdell
tokyo productions
hawaiki

[Andy Neil]

[Simon Ubsdell] “Obviously there is no good reason from the point of view of most aspects of functionality that it’s not competing at this level by this late point in its development, but perhaps we have to face the fact that some indefinable spark is missing.
“

I don’t think it’s anything to do with FCPX at all. As a tool, it’s remarkably capable. It’s just that it’s rollout pissed editors off so much that they many made their mind about it and haven’t considered it since. And of those that have considered it or tried it, there’s a portion that can’t seem to alter how they think about putting a story together. They’re entrenched in their mindset.

I find a lot of my peers that I talk to about X are still carrying around the perception that it just can’t cut in a professional environment. They’re legitimately surprised when I tell them it has the best multicam on the market in my opinion, that it’s leagues faster than other NLEs at the rough cut stage and major structural changes to a cut are ridiculously simpler. The most grudgingly complimentary thing I hear about it (before I’ve talked to them about why I like it) is that it’s good at organizing media. So, in the intervening years that FCPX has been on the market, most of the people I work with are still perceiving it from it’s initial release. This isn’t a fault of FCPX, it’s the fault of prevailing amounts of carmudgeonry in the editing community.

FCPX is finding increased use in a lot of professional spaces, but unlike FCP7, editors who can cut FCPX can’t be pulled from the Avid pool. They’re too different. So while FCP7 could insert itself into high profile studio films because it used the same paradigm as Avid, FCPX doesn’t have that luxury. It’s the most complete NLE without a monthly cost attached to it which means it can find work in smaller, nimbler operations, but studios aren’t concerned with that. They’re concerned with the talent pool of editors available to them and pool of FCPX capable feature editors with credits who also cut FCPX is small and will remain small until they decide to pick it up on their own.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Scott Witthaus]

[Simon Ubsdell] “One can’t help feeling that if, more than two thirds of the way through its probable lifecycle,”

For the sake of debate, how do you know this?

[Simon Ubsdell] “proselytise for a product to this degree to a particular market segment,”

So by your terms, Avid should not even be at NAB, for example, because everyone knows what they do? Locked in. What your saying is “oh well, seven years in and we’re done. Pack it all up”. Hell, Adobe has been at it a lot longer than that.

[Simon Ubsdell] “then something is not quite fitting at a basic level.”

Maybe it says something about the editors at that level

[Simon Ubsdell] “the traditional NLE market.”

Define this.

Alright, red meat and blood in the water! 😉

Scott Witthaus
Senior Editor/Visual Storyteller
https://vimeo.com/channels/1322525
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter

[Simon Ubsdell]

[Andy Neil] “I find a lot of my peers that I talk to about X are still carrying around the perception that it just can’t cut in a professional environment. “

This is no doubt true. But can we really, at this very late stage, attribute all the blame exclusively to intransigent editors who refuse to see the light?

There must at some point be something about FCP X itself as an overall package that isn’t chiming with enough users in this segment of the market.

There have been enough presentations and showcases and user stories and updates and general razzmatazz by this point that even if you’re deeply sceptical you will have been made fully aware of the benefits.

So what is the missing ingredient?

At some stage we have to recognise that Apple themselves aren’t succeeding in their sales pitch, surely?

Isn’t that what Apple do? Marketing? Isn’t that why they are richer by far than the gods on Olympus? Because of their ability to sell things to people?

What are they doing wrong?

Simon Ubsdell
tokyo productions
hawaiki

[Shane Ross]

Well, as someone who works in Hollywood, and who onlines about 12 shows a year cut on FCX, one pretty high-profile (Diana: In Her Own Words), I can say that FCX does have a foothold in this town. A small one, but a foothold. Three production companies I know of use it for broadcast work.

One big issue is…well…the same that originally held back Avid. Getting people to switch and like it and use it. ALSO..it needs to solve a problem that we have that can’t be solved by anything else. So far, Avid is used because it fits into the whole post-production pipeline rather well. It’s when we need a problem solved in post, that Avid can’t solve, that we look at alternatives. FCP Legacy filled the “we need this done cheaply” market…as well as indie filmmakers needing a good choice for editing, instead of begging/borrowing time on the company Avid. AND it had features that solved many issues…capturing DV native, composting on the timeline, CHEAP PLUGINS GALORE!

FCX does solve many post issues for a lot of people. And some in Hollywood. But not enough…not just yet. It might make more inroads when it solves more and more…and can better fit in with the existing post architecture (which with the help of third party apps, it does).

But yes, perceptions of FCX are a big factor. See, I think of it as a professional editing app but I STILL leave out the “P” when typing it out. Mainly habit.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Oliver Peters]

[Andy Neil] “FCPX doesn’t have that luxury. It’s the most complete NLE without a monthly cost attached to it which means it can find work in smaller, nimbler operations, but studios aren’t concerned with that”

Hmmm… Not sure about that. I largely work in those smaller, nimbler operations. And with editors who are a lot younger than I. Not much interest among those users either. Ironically the handful of X users I know fall into the older, curmudgeonly class. Otherwise, it’s mainly a Premiere Pro world from where I sit.

– Oliver

Oliver Peters – oliverpeters.com

[Andy Neil]

[Simon Ubsdell] “But can we really, at this very late stage, attribute all the blame exclusively to intransigent editors who refuse to see the light?
“

This is the same group of people that broke out the Holy Hand Grenade when Avid added the smart tool, a relatively minor UI adjustment.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Neil Goodman]

I work in LA in trailers and promos – you would think this is where FCPX would really shine and be super adoptable, but when I try and spark conversations about it I’m usually met with raised eyebrows and sarcastic responses.

Most people simply don’t have any interest or never looked further than the botched roll out. Most facilities managers and post supes wont give it the time of day and mot editors simply don’t care – they cut on what the post house provides – beyond that they just want to go home at a decent hour and see their families.

I think the roll out is what ultimately killed its chances here. I also think the audio capabilites and flexibilities have handicapped it for alot of shortform editors with the lack of a mixer or true bussing.

As stated before we are 7 years in, FCPX is no doubt a fully capable NLE that does a couple things better than the competition yet still no one over here is taking it seriously for whatever reason.

Cue all the people that will ay Hollywood is such a small niche and it doesnt matter – well hate to break it to you but corporate is also a small niche, so is weddings, so is v-logs – Hollywood just happens to be a small niches that gets the most eyeballs.

I also don’t believe that X is on a 10 year cycle and their just going to kill it and start over again. Hopefully years 10-20 see some major growth or it will continue to serve its current niche and serve it well. who really knows?

[Andy Neil]

[Oliver Peters] “Ironically the handful of X users I know fall into the older, curmudgeonly class.”

Interesting. That certainly hasn’t been my experience. But I also wasn’t suggesting that FCPX was the top choice for smaller operations. Only that it can make a lot of sense for those companies that don’t want to rent seats at $50 a pop. I see a lot of premiere in smaller places too. It gained a lot of ground in H-wood in the space vacated by FCP7 once people moved on from it (some places are still clinging to FCP7).

The places I know of that currently use FCPX are: small to med sized post houses, 2 trailer houses, facilities that specialize in studio commercials, EPKs and such.

I wonder if the young editors you work with aren’t interested in FCPX because they don’t see it as a space they can advance in? I mean, I learned FCP and Media 100 in school back in the day, and I was VERY keen to learn Avid when I was starting out. Premiere Pro (another upstart) wouldn’t have interested me because I knew Avid was king.

Andy

https://plus.google.com/u/0/107277729326633563425/videos