Reconsidering FCPX in Hollywood

[Neil Goodman]

[Andy Neil] ” 2 trailer houses,”

which Trailer houses?

I know Charlie is using it over there but curious where else?

[Shawn Miller]

[Andy Neil] “Only that it can make a lot of sense for those companies that don’t want to rent seats at $50 a pop.”

To be fair, that $50-$85 a month gets you much more than Premiere Pro. I think that’s one of the strengths of the Adobe subscription, the included tools are accessible enough for generalists but deep enough for dedicated specialists – that, and the talent pool for people who know After Effects, Photoshop, Premiere Pro and Illustrator is quite large.

Shawn

[Oliver Peters]

[Andy Neil] “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 think the answer is multi-faceted. There is certainly the “chicken or the egg” factor. Your odds of getting freelance work are better if you know Premiere than if you [only] know FCPX. However, many of these folks also have an interest in VFX and gaming. So AE is a natural starting point – even before any NLE. Once you work with AE, then the step to Premiere is quick and easy.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

I think the fact that FCPX still doesn’t have a good answer to collaborative workflows is also a hindrance to adoption in this market.

– Oliver

Oliver Peters – oliverpeters.com

[Neil Goodman]

[Oliver Peters] “I think the fact that FCPX still doesn’t have a good answer to collaborative workflows is also a hindrance to adoption in this market.”

Maybe but PPRO’s was pretty lame at it too up until the latest versions (haven’t tried it out myself yet – were still on 2017)

At work now – we have the most ridiculous “shared” workflow ever using PPRO. All the media is on a ISIS and then basically just an Editor exports their latest cut as a PPRO project and then if your the lucky one that picks it up for revisions or cutdowns you import that timeline into your current project. Then repeat until a cut is locked. Its a pain and gets very messy.

I also think alot of it has to do with prospective jobs. If I was in LA and trying to get into TV and Film, it would be dumb to ignore Avid, and secondary PPRO. I aslo find people pay Avid editors higher rates for freelance jobs then jobs on PPRO, and the very very few freelance listings I have seen for FCPX (non bordcast/film) were super duper low. Could have something to do with it too.

[Bill Davis]

[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.”

Why should should they waste overmuch time proselytizing it at all?

They grew from 2 million to 2.5 millions seats last year. At $299 (presuming nobody at all bought Motion or Compressor) – that’s mathematically just shy of 150 million dollars in FCP X revenue.

If we speculate and imagine that Premier ALSO has 2 million active seats – (clearly not exclusively working pros because no stat I’ve ever seen says there are anywhere near that many actual shop based Pro editors out there – but this is speculation only!) and average between full subscribers and NLE only folks in rental revenue -say $35 a seat? They mathematically generated $70 million bucks, at best, last year? Not a bad business at all, but those two numbers are WAY far apart.

So X, as it sits RIGHT now – is probably a lot more profitable than it’s competitors.

Now if X stops selling tomorrow – and Adobe keeps people on the rental hook for years – it’s a BIG win for Adobe.

But who wants to bet on an Apple collapse like that? Anyone?

So what possible reason would Apple have to switch to a heavy marketing emphasis on the movie Biz?

They likely make significantly more revenue than the competition already – simply by sticking to the marketing path they already are on.

At the end of the day, these are businesses. Folks area happy when a product makes money. And the more the better?

Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.

[Andy Neil]

[Neil Goodman] “which Trailer houses? “

I had a friend who said they were using it over at Trailer Park. I can’t remember the name of the 2nd place because I was just doing a tour there, but they did a lot of Disney work.

Andy

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

[Oliver Peters]

[Neil Goodman] “Maybe but PPRO’s was pretty lame at it too up until the latest versions (haven’t tried it out myself yet – were still on 2017)

At work now – we have the most ridiculous “shared” workflow ever using PPRO. All the media is on a ISIS and then basically just an Editor exports their latest cut as a PPRO project and then if your the lucky one that picks it up for revisions or cutdowns you import that timeline into your current project. Then repeat until a cut is locked. Its a pain and gets very messy. “

You need to get current. Our shop has 7 edit stations. All projects and media live on the NAS. Any editor can open any project at any time. The first editor to open a project has write permission to it. Subsequent editors who open it at the same time have read-only permission. You can toggle write control as needed among the users. You can also now have multiple projects open at once (like FCP7) and copy & paste/drag & drop between them. Yes, importing sequences via Media Browser is also still an option.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Bill Davis] ” and average between full subscribers and NLE only folks in rental revenue -say $35 a seat? They mathematically generated $70 million bucks, at best, last year?”

Your math is off. $35/month x 12 month/year = $420/year/seat. 2,000,000 seats = $840,000,000/year.

– Oliver

Oliver Peters – oliverpeters.com

[Neil Goodman]

[Oliver Peters] “You need to get current. Our shop has 7 edit stations. All projects and media live on the NAS. Any editor can open any project at any time. The first editor to open a project has write permission to it. Subsequent editors who open it at the same time have read-only permission. You can toggle write control as needed among the users. You can also now have multiple projects open at once (like FCP7) and copy & paste/drag & drop between them. Yes, importing sequences via Media Browser is also still an option.
“

I think we are gearing up for it 2018.1 at least – we all just had our OS updated to Sierra from El Capitan, lol. Surprised these old boxes even run Sierra. Looking forward to the new stuff for sure.