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Resolve 10 gets all “edity”
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[Andrew Kimery] “Resolve is still far from being an NLE though.”
Maybe, but it sure is starting to look like one
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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I still don’t understand why Premiere (and Avid for that matter) still has to look like Windows 95. It may very well be all amazing now, but yikes it’s still ugly. And still cluttered. Way too many boxes and outlines and buttons. Look at DaVinci, Motion, FCP X, etc. The thumbnails in X for example. They’re just an image. No border. No box. Clean. Even when you mark a range it’s visible without any highlighting of the thumbnail. And the play buttons in DaVinci – no box. No “button.” Just icons. When depressed there is a box. Minimalist. It and X are definitely going in the same direction. But even FCP legacy was nice and clean.
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[Bret Williams] “I still don’t understand why Premiere (and Avid for that matter) still has to look like Windows 95. It may very well be all amazing now, but yikes it’s still ugly.”
LOL, Have you looked at Sony Vegas? It *really* looks like Windows ’95. I think Premiere and Avid look fine.
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
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Interesting enough the only NLE pictured in their 2013 printed catalog is FCP X.
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[Jari Innanen] “Interesting enough the only NLE pictured in their 2013 printed catalog is FCP X.”
Resolve 10 seems to be somewhat influenced by FCP X with respect to UI (the new filmstrip view, the general appearance of the timeline) and certain features — compound clips, and… does ‘multiple take selection’ mean something like auditions? I’m not sure.
FCP X also gets top billing on Resolve 10’s workflow page.
I wonder if Blackmagic — and all the plugin and workflow tool developers who also seem pretty enthusiastic about FCP X — are seeing something happening in the market that isn’t being reflected in the Internet narrative about FCP X just yet.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Chris Kenny] “I wonder if Blackmagic — and all the plugin and workflow tool developers who also seem pretty enthusiastic about FCP X — are seeing something happening in the market that isn’t being reflected in the Internet narrative about FCP X just yet.”
Media Composer has Symphony. Premiere Pro has SpeedGrade. Smoke has Lustre. FCPX has a workflow hole. Why wouldn’t you develop for it?
What is the “Internet narrative” about FCPX? Seems to me that it was a product with a botched launch that has been steadily adding features and addressing objections.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Walter Soyka] “Media Composer has Symphony. Premiere Pro has SpeedGrade. Smoke has Lustre. FCPX has a workflow hole. Why wouldn’t you develop for it?”
At least in the indie feature world, I’m not seeing Symphony or SpeedGrade used that often as alternatives to Resolve. I’m not sure they’re enough of a force that it would make sense for Blackmagic to particularly target FCP X merely because it doesn’t have a first-party equivalent of those products.
[Walter Soyka] “What is the “Internet narrative” about FCPX? Seems to me that it was a product with a botched launch that has been steadily adding features and addressing objections.”
Your summary of the history of FCP X to date is fair, but I think the “standard Internet narrative” often also attaches something like “But pretty much nobody uses FCP X for anything serious”. Given that Resolve is pretty damn serious software, the interest Blackmagic is showing in FCP X suggests they believe otherwise.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Chris Kenny] “At least in the indie feature world, I’m not seeing Symphony or SpeedGrade used that often as alternatives to Resolve. I’m not sure they’re enough of a force that it would make sense for Blackmagic to particularly target FCP X merely because it doesn’t have a first-party equivalent of those products.”
Do most of your edits come in from FCP, or do you see a lot of MC/Pr work as well?
I haven’t seen SpeedGrade much out there, either, but I would be surprised if that didn’t change some as Adobe’s integration efforts play out.
Resolve already targeted all the classic/legendary NLEs, via EDL/AAF/XML, in previous versions. It’s not like they chose FCPX and ignored the other NLEs. I think that lifting design cues from FCPX is probably good marketing — people buying a $300 NLE may well be drawn to a free color corrector and some hardware that suits both.
[Chris Kenny] “Your summary of the history of FCP X to date is fair, but I think the “standard Internet narrative” often also attaches something like “But pretty much nobody uses FCP X for anything serious”. Given that Resolve is pretty damn serious software, the interest Blackmagic is showing in FCP X suggests they believe otherwise.”
I do like Resolve — I bought in the day it was released for Mac — but isn’t Resolve now suffering (perhaps to a lesser degree) the same perceptual issues that FCPX suffers?
What about last year when BMD added DNxHD/MXF support to their recorders? BMD is smart — they play all the angles.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Walter Soyka] “Do most of your edits come in from FCP, or do you see a lot of MC/Pr work as well?”
It’s about 50/50 MC and FCP 7. We’ve gotten a couple of inquires about FCP X for narrative stuff, and a couple of music videos have come through that were edited in Premiere.
[Walter Soyka] “I do like Resolve — I bought in the day it was released for Mac — but isn’t Resolve now suffering (perhaps to a lesser degree) the same perceptual issues that FCPX suffers?”
Not around here. I know of a couple of name-brand colorists who have left major facilities to start their own operations, who swear by Resolve. I also know that several major facilities have Resolve suites (though they often also have other systems as well). I think Resolve’s history in the industry and the fact that it’s still possible to build a pretty expensive Resolve system (between its multi-GPU support and the existence of those $30K panels) prevent perception problems that might otherwise exist as a consequence of the low base price.
Blackmagic’s extremely aggressive pace of development helps as well. It forestalls arguments along the lines of “Resolve isn’t a serious app because it doesn’t have feature X”, because with a high probability the next release is going to have feature X. Heh.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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I was drawn into learning Motion recently and was surprised at just how more modern it “looked.” After a few projects I was wowed by some things like how it looked and the rt playback engine and the reflections features. But not wowed by it’s lack of depth when you really started working in it, and of course the million other features that AE supports by comparison. But for 80 of ones motion graphics needs, it’s a good fit. Until you start trying to nest or do any intense keyframing. Even in Premiere, Adobe just “gets” keyframing. They understand it.
So ugly or not it has nothing to do with function that’s for sure. In fact, I still find X’s ispector pretty inefficient. Always scrolling down for the most basic stuff, like opacity. Some reason we can’t adjust opacity and composite modes in the timeline easily anymore?
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