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So what is happening with NLE’s in your area
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Coming from where Mark is…Hollyweird…
From what I see FCP Legacy has lost little ground…lots of jobs still asking for people with FCP 7 experience. Avid is gaining ground. I’ve seen FCX listings only for “casting editors” and some “Sizzle editors.” Nothing Premiere Pro yet.
I too still ship more tapes than anything else. All because that’s what the networks are asking for. Some are shifting to tapeless…and always asked for ProRes masters. Now they are asking for DNxHD masters, or OP1A MXF masters. But mainly tape…of the HDCAM and HDCAM SR variety, like Mark said.
FCX has little hold here, but that’s not to say it doesn’t have it’s own large niche that it fulfills very well.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
I can add to the fact TVC Broadcast delivery in Sweden, Scandinavia and lots of countries in Europe are file-based, primarily SD. ProRes is widely accepted as a format for a lot of work. Here FCPX could be a brilliant master-dub delivery editor, however, it doesn’t quite hold up (probably why its been poorly accepted). It renders SD-material worse than Legacy and the GUI isn’t very optimized for multiple version outputs. Lack of batch-export is problematic too.
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Yeah it’s almost impossible to use FCPX for SD workflows currently because all effects make picture softer… SD is non-square pixel and FCPX feeds material as square pixel to Motion template based effects so there is lot of scaling happening back and forth so material gets softened. So FCPX only work nicely when working with square pixel material.
Best
Tapio HaajaDevelopment & Production Manager / Promotions / MTV MEDIA (Finland)
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We are mostly hd. Any SD material gets up converted through the teranex. I don’t see that much of a difference between sd in fcp and in fcpx unless you have the output of the video card set to something other than what you are working in. Sd in final cut legacy displayed on a hd monitor never looked very good anyway. We always monitor in the format the original material is in and so far are very happy. Also the cost issue was a big factor. For the price of 6 avids on Mac towers we get 10 fcpx suites and it works seamlessly.
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In STL, I know of one Network and one independent producer who have gone with AVID 6.5
They both were convinced that 7 was too buggy to go with just yet. I have no idea if that’s true or not. I wanted see 7 first hand but I don’t know anybody that has it.
I know 2 local news stations still on Legacy and one on Edius.
Of the three post houses I have been to this year 2 went with Ppr and one is mainly using X
The one that’s using X is one of our most respected editors in town.Of course a bunch of independent people have gone with X
They shoot Oprah’s reality show “Sweetie Pies” here and I saw those folks shooting on tape.
As they walked around the place with those huge bulky cameras I thought to myself, dang that looks heavy. -
I guess SD might be a different story, although after 2 years of reading this forum intently this is the first I’ve heard of it. But in all honesty I can see how one might not like X, but, at least for HD, that’s no excuse for staying with legacy. With all the different formats being shot now that have to be transcoded by a third party app just to start an edit, it would almost seem negligent to charge a client for those services when X, Avid, or Premiere could just start editing immediately. And this is nothing new. Legacy has been EOL’d and this process of not transcoding has been the norm for 2 years now. Like I said, SD May be a different case, but in general it’s time for legacy shops to pick something else and move on pretty soon.
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[Bret Williams] “I guess SD might be a different story, although after 2 years of reading this forum intently this is the first I’ve heard of it. “
Actually I mentioned it very early on. X is not good with SD, especially with 480 raster sizes (DV, DVCPRO). All other NLEs do a better job, including “legacy”. You can get acceptable results, but you have to fiddle with the spatial conform and adjust vertical position in a very non-mathematical way.
Bottom line is that X works best with progressive HD formats.
[Bret Williams] “With all the different formats being shot now that have to be transcoded by a third party app just to start an edit, it would almost seem negligent to charge a client for those services when X, Avid, or Premiere could just start editing immediately”
To each his own. Transcoding gets you into a common format and NLE performance works best when you do that. The only camera media I work with natively in X is from Alexa. RED is native, but the workflow is still best when doing the transcode/proxy conversion. FWIW – there are plenty of sessions where I’ll use “legacy” for Log & Transfer and then edit in X, because the options are superior to what X offers. That how I approach most C300 jobs.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Media Composer 7 is actually pretty stable. Havent been able to break it yet.
That said, you really have to see there version of background transcoding. It makes FCPX’s implemation seem like a joke.
It actually doesnt pause when you work, will keep baking your clips, you can even switch to a new project, or completely close Avid all together, and it still keeps chugging away and you can check the progress remotely via the web. Its pretty fricken slick and has been working without a hitch. Shoot, you dont even have to launch Avid to get this process going.
Hopefully this sort of functionality is coming to X too.
Neil Goodman: Editor of New Media Production – The Esquire Network – NBC/Uni
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Any more reading about this SD issue anyone can link to? This is the first I’ve heard of it as well. Not that I do much editing with SD material anymore, just interested.
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Hey all, I recently shared this in another thread… but this is one of the main reasons why I created (and just launched the beta) of https://www.TheDigitalSlice.com
https://www.facebook.com/thedigitalslice
https://twitter.com/TheDigitalSliceIf you have a moment jump over, submit your data and help me get the ball rolling… I’m hoping it will become a very handy tool.
Aside from that, personally, (as Oliver and Chris also mentioned) …the key is Ae and Photoshop. ~80% of the edits I personally work on involve some kind of motion graphics and photoshop, ~90% of the broadcast TVC’s I work on are primarily based on after effects…. so inherently I went Adobe. Having a multi-skill set is extremely handy and the cloud subscription is also easily manageable. But in saying all that Avid does seem to also have a strong influence in broadcast where I am in Australia.
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