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So is FCPX earth shattering, or should I just move on to Adobe?
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It’s working as intended. I might be able to digg up a handful poor experiences at some point.
Working all native is sometimes amazing, sometimes the worst thing you can do. Running into courupt media or a courupt PrPro project file is less than fun. But I guess that could happen to any NLE.
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My Mac Pro is from early 2008, and I am doing my first FCP X 10.0.9 project from an external drive. That said, I feel that it’s extremely slow.
I have worked off of the same system from the same external drives on FCP 7 and haven’t experienced such lags. And I know I’m supposed to work locally, but my drives are full, so…
I wanted to convince my boss to switch to FCP X, and after watching several courses (not YouTube vids, but full 2+ hour tutorials)I was very prepared to until I discovered that you can’t do basic things like select an in and out point without a workaround. I’m putting up with it, but I cannot expect a team of editors to do that.
Also, for the latest version, you must upgrade you OS? Who does that in a pro environment with tons of third party apps/plugins, etc. that aren’t guaranteed to work with a new OS yet? So I feel that a carrot (or Apple, hehe) is being waved in my face — being a better FCP X that I cannot have.
The one thing that’s keeping me interested in FCP X personally are the plugins. There are a ton, and you can preview before applying them.
But I unfortunately will have to start learning Premiere or Avid.If plugins don’t matter to you, then I would look toward other editing software.
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[Lillian Young] “My Mac Pro is from early 2008, and I am doing my first FCP X 10.0.9 project from an external drive. That said, I feel that it’s extremely slow.”
In my experience early 2008 MacPro’s do not work well with FCPX. One of my first FCPX clients, the summer it got released, was using a 2008 MacPro and complaining the entire time. I took my 2011 MacBook Pro and blew them away… You really need to use a newer system to work quickly with X, and then you will realized how slow FCP7 really is, especially when importing and rendering.
[Lillian Young] “I was very prepared to until I discovered that you can’t do basic things like select an in and out point without a workaround. I’m putting up with it, but I cannot expect a team of editors to do that.”
You must be doing something wrong. When logging footage you can set in and out with the same keystrokes as you do in FCP7 and you can set as many in/out points as you like and turn them into favourties, so you never loose them. In the timeline the in and outs don’t stay put, but its really just a matter of getting used to.
[Lillian Young] “Also, for the latest version, you must upgrade you OS? Who does that in a pro environment with tons of third party apps/plugins, etc. that aren’t guaranteed to work with a new OS yet?”
This is the case for any NLE. One should never update in the middle of a Project. But as far as I can tell, all the plugins I use, Magic Bullet Looks, SliceX, and all the FXFactory plugins work perfectly fine with 10.1. It took Resolve only a few weeks to make the new XML compatible.
[Lillian Young] “But I unfortunately will have to start learning Premiere or Avid.If plugins don’t matter to you, then I would look toward other editing software.”
Its always a good idea to learn other NLEs,especially as a freelance editor. But plugins are important to all NLEs. Most RedGiant plugins, and FXFactory plugins work for FCP7, FCPX, Premiere and AfterFX. Not so sure about Avid since I only edit news on that, but there is plenty out there as well.
“Always look on the bright side of life” – Monty Python
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[Bret Williams] ” Or, for that matter, the video they hand you without having to run it through a converter.”
yes I suppose, but it stills feels slightly mucky to be basing an entire project on the kinds of computational mathematics in an avchd file. if 4K – that joke we’re supposed to care about, that people can’t perceptually see from an average viewing distance relative to 1080P, takes hold, then in acquisition terms, we’re looking at some variant of h265, which makes everything worse in triplicate.
H265 takes three times as long to encode to a delivery codec, they are hammering the colour space, and unlike the shift to HD – there is no appreciable benefit to the viewer. in standard seated settings, they can’t tell the difference. also the compression degradation negates the fact that they’ve got a threadbare larger raster.
HD made appreciable sense because it was transformative to the viewer. 4K makes absolutely no such sense. the viewer can’t resolve the difference relative to 1080P at standard viewing distances – particularly after its been hammered by the kinds of compression required to make it function for delivery.
It feels like snake oil being sold by a large group of desperate parties on the production end. yes its nice to have blow up – and that was the truth of HD while it was mostly backend, but given that 4K means nothing to consumers, and will resolutely continue to mean nothing to consumers as their films measure less than 1080P vertically, and they can’t even tell the difference between 4K and 1080P, nevermind 1080P and 720P – 720P which benefits from lower compression..
4K just feels a bit like bullsh*t.
If the sole justification for a massively expensive backend re-ordering is the ability to mindlessly blow up shots, which kind of really never works past 20-30 odd percent anyway no matter what.. is that the justification for an entire jump in magnitude for production? so we can scale stuff up?
is that actually the logic for this incredibly expensive proposed shift? because god knows film and television aren’t touching it with a barge pole.
again: that minor point – current (and you’d better believe for the long term), digital cinema packages measure less than 1080P vertically. They’ve done their perceptual math. Cinemas are going to sit on that one off digital delivery investment for an incredibly long time.what are we doing? why are we entertaining this? why aren’t we pushing for end to end 1080P 10/12bit per channel production to delivery –
given 1080P is an apple retina display in the living room/cinema context?why is anyone buying all this 4K bullsh*t?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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You speak the truth. Sadly to an end-consumer it’s easier selling 4K vs 10-bit. I think that “craze” shines through into production. But I fully agree. 1080p 10-bit end to end is what we should be aiming for. I presume pumping the resolution is easier than the bit-depth or dynamic range? And / or I also think compressing 4K 4:2:0 8-bit might be an easier task than 1080p 4:2:2 10-bit? Heck I’d settle for 4:4:4 10-bit 1080p before going to 4K.
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[Erik Lindahl] “You speak the truth. Sadly to an end-consumer it’s easier selling 4K”
the thing is I think they really can’t. Without any large market broadcasters or film (and there is zero probability of them getting on board) they’re just a bunch of far east commodity 1080P screen manufacturers stupidly trying to sell consumers a 4K LCD monitor that effectively means nothing.
https://www.youtube.com/watch?v=Pubd-spHN-0
there is absolutely no logical basis or support for a 4K pipeline to the consumer, given they can’t tell it when they see it –
its not happening. as the phrase goes, Asian manufacturers – stop trying to make fetch happen.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “which kind of really never works past 20-30 odd percent anyway no matter what”
Not true, I get 200% blow-up on shots when we use our good Prime Lenses in a 1080 timeline and up to 300% for web video in a 720 timeline.
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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[Aindreas Gallagher] “god knows film and television aren’t touching it with a barge pole. “
But Amazon, Netflix and YouTube are, and IMHO this is where 4K will first start to breakthrough into the consumer market.
Steve Connor
There’s nothing we can’t argue about on the FCPX COW Forum
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