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Someone give me quaintifiable evidence of FCPX market penetration. Features. Industrials. Commercials. Weddings. Where?
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[Oliver Peters] “To some extent this is a chicken-or-egg problem. “
Certainly a chicken/egg problem.
What helped FCP Legend was that it made it affordable for editors (and smaller productions) to own their own NLE (as opposed to renting an Avid) and as people got comfortable with it on smaller projects they started lobbying to use it on bigger work and eventually you hit a point where it’s not only a trusted platform but it also has a large enough user bases that productions can easily staff shows.
A big difference between now and then is that X does not have the massive price advantage that Legend had and people are already used to having an NLE at home (ok, thats two differences). 10-15 years ago choosing an NLE was an investment because prices were higher and you ended up in an echo system for that NLE. Today, well, I have Avid, FCP 7, PPro, and Lightworks on my laptop (and X is only a download away if I need it).
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[Brett Sherman] “I have no doubt that’s true. But places where editors don’t hang out by the water-cooler are places where FCP X can gain traction. This includes documentary production, news production, one-man band productions, wedding productions, web video production, institutional productions, to name a few. Whether FCP X develops more market share in broadcast work or not, there is still a sizable market for it.”
I’ve seen web production brought up a lot and I think that’s an interesting section of the industry because “web production” is almost as broad of term as “the industry” since everything from cat videos to successful indie projects (like Video Game High School) to b’cast style productions House of Cards can fall under the term “web production”. I’ve worked on web projects for Viacom, Yahoo, and NBC and they certainly have workflows and facilities that feel similar to a broadcast environment (multiple editors, shared storage, etc.,). Big and small projects (and workflows) will find homes on the web.
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Hmmm looks like Adobe was promoting Gone Girl Editing at least 7 months before the movie opened…how can that be if the NDA’s and Studios’ prevent that? Hmmmm
Andy Field
FieldVision Productions
N. Bethesda, Maryland 20852 -
[Andy Field] “Hmmm looks like Adobe was promoting Gone Girl Editing at least 7 months before the movie opened…how can that be if the NDA’s and Studios’ prevent that? Hmmmm
“Because the studio was fine with Adobe making the announcement?
It was already stated in this thread that Adobe announced it was happening earlier this year, but articles, videos and panel discussions from Adobe about the details of the collaboration didn’t start until around the time the film was released. NDAs and media embargos aren’t rocket science.
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This was a blog post to a blog post, with no real information.
Just like we know Focus is being cut on X now, we knew Gone Girl was being cut on Pr, then.
It’s about equal in information and details.
Once Gone Girl was close to release, more details came out about the workflow.
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[Andy Field] “Hmmm looks like Adobe was promoting Gone Girl Editing at least 7 months before the movie opened…how can that be if the NDA’s and Studios’ prevent that? Hmmmm”
Depends on what the NDA says or what the relationship is between Fincher and the studio. As someone who’s written an interview story about “GG” for DV magazine, I can attest that I didn’t get any press access to anyone until the time was right. That’s in spite of the fact that I had interviewed the editors about several previous films. I presume that in the case of Adobe, they were allowed to acknowledge the use with “GG” but nothing more. The same is true between Coens and Adobe.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jeremy Garchow] “This was a blog post to a blog post, with no real information.”
Well, Adobe did include a basic connection to Fincher and Premiere in some of their PowerPoints to press and key influencers months before the film’s release. No specifics, though.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Well, Adobe did include a basic connection to Fincher and Premiere in some of their PowerPoints to press and key influencers months before the film’s release. No specifics, though.”
The underlying point (which you’ve also made) remains unchanged though. Media access and information was controlled. No one had carte blanche to talk about this ongoing project with the media, and the media probably had embargos themselves about when they could release the information they were given.
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[Oliver Peters] “[Jeremy Garchow] “This was a blog post to a blog post, with no real information.”
Well, Adobe did include a basic connection to Fincher and Premiere in some of their PowerPoints to press and key influencers months before the film’s release. No specifics, though.
“Surely.
I think we can all agree that Adobe didn’t expose a whole lot of information until GG was very close to release.
There was some presentation when the new MacPro was announced (can’t remember the guy who did it) who said that there was a $100mm movie being cut right down the street on FCPX/iMacs, but also scarce on the details.
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[Andrew Kimery] “No one had carte blanche to talk about this ongoing project with the media, and the media probably had embargos themselves about when they could release the information they were given.”
A couple of points. First, even if there are no actual NDAs, most experienced feature film editors know that it is not their place to step out front and start talking about a film early. They are generally far too busy, but more importantly, they don’t want to step on anyone’s toes.
Second, press embargoes are generally only in place once the PR machine starts to roll. For example, you might see a screener for a film and be asked not to print anything about it (including tweets, blogs, etc.) until after a certain date. That’s pretty common for studios, but also equipment and software vendors.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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