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Reconsidering FCPX in Hollywood
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[Bill Davis] “You’ve obviously made your allegiance bets.
As have I.”
I own 2 Mac workstations (2010 & 2013) but agree with Greg. I’m highly critical of Apple but I still use them exclusively for my work, and if they ever come out with a new workstation I’m a likely buyer – so where does that put me allegiance wise? It’s not all “identity politics” – sometimes it’s just about the facts.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
I think it’s easy to say “nobody cares about what they do in Hollywood”, but that simply isn’t true. Part of it is aspirational for new editors. “I want to use what _ _ _ is using”. That may be feature films, but it also could be a favorite YouTube “video star”.
On a more concrete level, it’s informative, because many of us use the same techniques and workflows in projects that have nothing to do with big-screen entertainment. For instance, if I work with shared storage using FCPX or PPro, then I’d like to know what pitfalls were encountered or workflow decisions were made by someone in Hollywood using those same tools. That’s important, not because they are in Hollywood, but simply because they have a bigger megaphone. Thus their story gets out into the public space and is more visible than a smaller market editor somewhere else.
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “And wouldn’t THAT kind of revenue results be huge news on an imaginary Adobe Earnings call!”
Since we are being hypothetical – let’s say it’s only 1/4 of that. 500,000 users. That would be $210,000,000/year.
Now compare FCPX at 2.5 million users at $300 over the course of 7 years. A theoretical maximum of $750,000,000 to date, for an average of $107,142,857/year.
Lies, damn lies, and statistics! ☺
But… Here’s some actual info:
https://news.adobe.com/press-release/corporate/adobe-delivers-record-revenue-2-billion-q4
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “On a more concrete level, it’s informative, because many of us use the same techniques and workflows in projects that have nothing to do with big-screen entertainment. For instance, if I work with shared storage using FCPX or PPro, then I’d like to know what pitfalls were encountered or workflow decisions were made by someone in Hollywood using those same tools. “
Exactly.
And this is why the work that Adobe did with Vashi and others was so effective.
It got the message out there (to sceptics like me!) that not only was Premiere up to the task of handling intensive/complex workflows, but more importantly that Adobe were not just listening but actively engaged in coming up with solutions to specific problems raised by a demanding group of editors.
Apple haven’t succeeded in conveying a similar message.
Simon Ubsdell
tokyo productions
hawaiki -
[Oliver Peters] “For instance, if I work with shared storage using FCPX or PPro, then I’d like to know what pitfalls were encountered or workflow decisions were made by someone in Hollywood using those same tools.”
I work in a shared environment with those software packages. We have a Terrablock and are moving over to Lumaforge. Not once did I consider or look to see what a Hollywood feature used, as it had no relevance to my workflow. What I did do, however, was ask colleagues and various forums for information and advice. A quick call from Bob Zelin was incredibly helpful.
[Oliver Peters] “That’s important, not because they are in Hollywood, but simply because they have a bigger megaphone”
I don’t want a megaphone. See my reference to Bob Zelin above.
[Oliver Peters] ” Part of it is aspirational for new editors. “I want to use what _ _ _ is using”.”
So if it’s a shi**y movie, do you stay away from the workflow or software? 😉
Scott Witthaus
Senior Editor/Visual Storyteller
https://vimeo.com/channels/1322525
Managing Partner, Low Country Creative LLC
Professor, VCU Brandcenter -
[Scott Witthaus] “Not once did I consider or look to see what a Hollywood feature used, as it had no relevance to my workflow.”
I would disagree. For example, if I’m using a given storage product and having NLE media performance issues, but I read about another complex workflow using the same NLE+shared storage – and they didn’t have media issues – I want to know why and what system they were using. It informs my choice. It might not be the deciding factor, but it adds more data.
– Oliver
Oliver Peters – oliverpeters.com
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Thanks for posting the clip Oliver I really enjoyed it.
What’s interesting about it is that Beal is an “insider”. He is Avid user and makes his money mostly with that tool. He doesn’t really need X or to even talk about it. He’s already at the top of his game in that arena . He also fits into Oliver’s description of an older industry vet.
He admits that Avid is the “king player” in Hollywood but he’s not totally satisfied with it and he explains why.
He talks about having to think differently to use X and we all know that.
He’s talking to people in Hollywood doing the type of work that he does that might not know about the tools that X has. He’s challenging people who are likely his colleagues to take another look. That’s all.
His example are good, like “Dialogue Cheats” (“Best way I’ve found”) “Music browser”
He doesn’t want people to switch to it if they don’t want to, he’s just saying “did you know you could do this with it?”
When I would see a letter carrier driving their vehicle with the steering wheel on the right side I would think to myself, “that’s got to be weird to get used to since your personal car you have been driving for years is the opposite”
I’m sure once they get used to it the mail delivery is much faster than if they were on the left side.
FCPX…………….it’s a letter carrier’s vehicle : )
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I’ll offer two observations: one about Hollywood and another about Apple.
Hollywood post houses are notoriously cautious about workflow changes and are extremely reticent to switch to anything that might cause them some pain. I‘ve worked in VFX for 30 years and it always amazes me when I see shops clinging to approaches that would be solved by switching platforms. The collaboration tools are something that Avid has built in over FCPX, but are not so super duper that you couldn‘t replicate a workable solution with FCPX if so inclined. Which brings me to Apple.
Apple‘s M.O. is to roll out features when they feel they‘re ready for prime-time, and not before, to the general dismay of a lot of folks who want it all now. The initial roll-out of FCPX was filled with holes and dead ends, but pointed the way to a great new way of working. A lot of people got hung up on what wasn‘t supported on day one and lost interest.
My guess is that as Gig10Ethernet and TB3 become ubiquitous and affordable, Apple will focus on collaboration as a logical extension of that. The recent color updates and titling updates were huge and I“d be surprised if the collaboration tools didn‘t make an appearance before long.
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[Herb Sevush] “so where does that put me allegiance wise? I”
Wherever you wish to be Herb.
Its self-identification. Not something forced on you.If you choose to represent yourself in discussions – or billboard a signature that identifies you as platform agnostic, your posts and opinions will likely be seen through that light.
If not, then not.
Simple as that.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Simon Ubsdell] “Broadly speaking FCP X has attracted a type of user that doesn’t necessarily shed lustre on the brand, but quite possibly has the opposite effect …”
Yup,
It’s a wonder it managed to eek out those 2.5 million paid seats.
(Dies anyone here know if Costco carries large tubs of “Luster Polish?” I’m asking for a friend…)
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.
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