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So what is happening with NLE’s in your area
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Hmm, I own Master Colection CS5 and have been a cloud member for over a year. I edit with FCPX because I like it better. I’m actually considering killing my CC membership. I use PS, AI, and AE. But I don’t need any advanced PS or AI features. The advanced AE features are great, though. So I’m considering just renting it month to month when neccessary if my CS5 version won’t cut it.
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Our facility is all FCPX, but we are still an exception. Larger post houses I know in France and Germany have been with Avid and/or legacy FCP for years and apparently they are not going to change soon. But large pure post houses are slowly disappearing in our parts of Europe as well. Small shops seem to be taking over most of the work. And here’s where it gets interesting.
What I see is that the smaller shops as well as the audiovisual depts of some big agencies and corporations over here are really embracing FCPX. I get a lot of interest from people asking about our workflow lately (-: Some of our bigger corporate clients and agencies, but also small production houses and one-man-band shooter/editors, are already bringing in logged or even pre-edited FCPX projects to our shop. We do the fine tweaking of the edit (FCPX), the finishing (Smoke/Flame, Resolve, ProTools…) and the conforming for broadcast, DCP or digital platforms for them. It’s a workflow I encourage because they do the bulk of the lower-end work and we can charge good money for our experienced people to polish, finish and deliver the projects.
– Ronny
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[Ronny Courtens] “shooter/editors, are already bringing in logged or even pre-edited FCPX projects to our shop. We do the fine tweaking of the edit (FCPX), the finishing (Smoke/Flame, Resolve, ProTools…) and the conforming for broadcast, DCP or digital platforms for them. It’s a workflow I encourage because they do the bulk of the lower-end work and we can charge good money for our experienced people to polish, finish and deliver the projects.
“Exactly the workflow I predicted would happen when I first saw X
The role I saw for big post houses was, working with people who start projects in X and then need someone with more advanced skills (smoke/flame) to get it over the finish line, and if you had that ability you would be in the catbird seat.
You’re a smart guy Ronny
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In Finland the biggest player is still FCP legacy. Some individuals use FCPX and like it. Haven’t heard anyone moving to Avid but some facilities are moving this year to Premiere Pro CC.
Best
Tapio HaajaDevelopment & Production Manager / Promotions / MTV MEDIA (Finland)
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thought i should add my 2 cents for what its worth…the broadcast company i work at has just installed 10 new imacs with fcpx in most of the qc/ingest suites…..the only current limitation is not being able to export to tape directly from fcpx but the whole place has gone digital and we just use the share command to send files to the master server…a second imac is being set up as a dedicated grading suite. most of the staff have been very receptive to fcpx after years of fpc 7 once the training was complete. the move to fcpx made sense because of the huge library of pro res material. as far as going back to tape (which is becoming more and more rare these days), we just use black magic media express…..a simple, elegant and cost effective solution for a major broadcaster in this country.
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We’re quite a small post facility in Sweden but are still using FCP7 – and probably will untill it breaks or something better comes along. A lot of people I’ve spoken to in the industry feels the same.
Most of the projects coming to us from agencies, directors or editors its primarily the same – FCP7. One or two projects have been edited in AVID, Premier or FCPX but very few.
We do both in-house, web and broadcast work and for us FCP7 is still very efficient so I see why people are reluctant to move on.
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Toronto, broadcast sector.
Nearly all the TV production houses are still running dual FCP7 and Avid. FCP7 still being used on continuing series’ and all new shows are using Avid.
I’m currently working at a network, and internally that is, of course, all Avid, with a small sector using Grassvalley Edius.
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Here in LA, in the “reality TV” world, AVID seems to be the NLE of choice. THere are a couple of reasons for this. Every reality show that I know of employs large teams of editors, assist, and story people all sharing the same media/ projects/ metadata. “X” just can’t compete in this arena. (Please don’t tell me about “sparse disc images”!)
The second reason is “tape delivery”. While many networks are fully embracing “file based delivery”, there’s still plenty of requirements for a HDCAM or HDCAMsr master. I will just say that “X” has NOT prioritized any kind of VTR interface. (third party? Puhleeze!)
Finally, while it’s true that many of the large “post houses” are now history, the production companies that used to patronize them are now doing it all in house. THe work is still there… it’s just moved to a different address.
The entertainment business is changing by the minute. New business models. New distribution platforms. New technology. Which NLE to use is actually the least of my concerns these days!
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The SD quality-concerns of FCPX doesn’t affect you?
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My niche of a niche (unscripted broadcast, indie doc and higher-end web content in Los Angeles) is pretty much FCP Legend or Avid. I hear rumblings about Adobe (people looking for ‘FCP 8’) and occasionally see X pop up on the periphery. For companies with entrenched FCP or Avid workflows (and I’ve seen this from web companies to b’cast companies) I just don’t think they see the cost/benefit of going with X right now.
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