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Someone give me quaintifiable evidence of FCPX market penetration. Features. Industrials. Commercials. Weddings. Where?
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[Jeremy Garchow] “I’d be curious to know why scripted dialogue editing is not possible in X”
You know, it probably is… inventing workarounds and a third-party plugin business is what this version of editing software depends on.
What I meant by “scripted”, though, is a deliberately planned, blocked, shot, slated, shared-collaboration that has a formal structure consistent with the film-finish workflow established over the past hundred or so years. It is possible that sign-off structure is somewhat ossified, but human decision-making being what it is — coupled with — and this is an industry norm — individual quirks — I’ve witnessed editors throw the whole thing over just because they hated the cataloguing system, let alone the hoops they would have to jump through to export all the capital assets required by support contractors. Not saying that progress has not been made, just that some ships are just too big to get turned around in the Panama Canal. Per “swinging a cat.” None of which has anything to do with the “feature set”, that is, how-to-do-things.
“Black Mirror”… I will have to look for that. You know I am a foreigner. Is it on Netflix?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jeremy Garchow] “[Joseph Owens] “There you go. For standard, templated productions with an unstructured media source — that is, most of “news” or improvised timeline structures – as opposed to scripted – that’s what this little editor was built to do. A standup, some B-Roll, an overlay… done. Right from the words “this is your timeline in X” on that fateful night in ‘Vegas.”
I’d be curious to know why scripted dialogue editing is not possible in X, and why X was built without scripted projects in mind.”
It’s totally possible (and in fact, quite efficient, fast and fun) to edit scripted dialogue in FCPX. A better question (since at this point it is only a matter of personal preference) would be to ask folks like Joseph why they personally do not find FCPX suitable for such editing.
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I particularly enjoyed the Tim’s Vermeer article. Music? I think the majority of people are so visually oriented in the film/digital image world that they find it harder to talk about sound. When they do they often use visual words like bright and dull to describe frequency.
Music is such a subjective thing as well. From various online forums that I have visited over the years, audio ones tend to get very technical and threads are short. Not so much debate.
I have enjoyed this forum over the three years and I sense the slow fade to black for me at least as there is less to debate and I have found a workflow direction that has taken me away from Apple.
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[Joseph Owens] “You know, it probably is… inventing workarounds and a third-party plugin business is what this version of editing software depends on.”
I have a really hard time with this comment (not with you, just the general comment), which comes up from time to time, about the style of the FCPX timeline being a “work around”. It’s only a work around if you try and force it to work like Final Cut Pro 7 works (or Avid, or whatever the track based, source/record skeuomorph represents). It’s really simple, FCPX doesn’t work that way. The track based, source/record skeuomorph was designed back when computers became capable of editing, to make the transition from “analog” to “digital”, or linear to non-linear palpable. If that is the case, then that model is also a “work around”.
That model, for better, worse, or indifferent, is changing. My 2.5 year old son will not care about analog TV, or transmission, or the amount of innovation it took to beam a signal around the world, or film. His media consumption and frame of reference will be vastly different from 100 years ago, and so will his visual language. If he knew exactly how to use them (I could probably show him), the very tools that he already has at his fingertips at his very young age to communicate, and subsequently share those moments of communication is rather astounding if you can stop and think beyond fraudulent accounting and ossified workflows. He is 2.5 years old, and he already knows how to play his own music, the songs that he picks out and wants to listen to mind you, and it isn’t by winding up one of these:
And as fast as third party support, Final Cut Pro 7, and other NLE’s and video applications, rely on an extensive third party system to fill gaps in the workflow. FCPX requires some of this mortar in interchange. Big deal. These programs are very affordable, and in my experience, work very well. It does not make me feel that FCPX is any less capable as a creative tool because it doesn’t have fossilized workflow methods built in to it.
If the non-exportation of capital assets is going to be the downfall of FCPX, then I would imagine someone would invent a capital asset exporter, (it probably already exists under an assumed name), and FCPX can also export from pretty much anywhere in the program, so unless there’s something that is truly unique to the asset delivery process, I’m not even sure that this is a check mark against FCPX in the long list of Pros and Cons of any video software.
Im not saying everyone’s going to like the software. It does represent a fair amount of work to open it up and learn it (or not) and that is time not everyone can afford. Certainly, they aren’t. It was also pretty well busted when it was first launched. I also understand the animosity toward Apple Incorporated, but where does that leave ME (as Tim Wilson spelled it)? I understand why someone wouldn’t use fcpx, but why tell me it’s not good enough for me (again, not directed to you specifically, just the general sentiment)?
[Joseph Owens] “”Black Mirror”… I will have to look for that. You know I am a foreigner. Is it on Netflix?”
The first two seasons (a whopping 6 ‘episodes’!) just arrived on Netflix in the US a few weeks ago. It’s a British show, so it’s ‘foreign’ to me as well. 🙂 Pretty great satire on ‘amusing ourselves to death’. The show is commonly referred to as “sci-fi” which seems to be a bit of a misnomer. If you can find it, its worth checking out.
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[Jeremy Garchow] ”
The first two seasons (a whopping 6 ‘episodes’!) just arrived on Netflix in the US a few weeks ago. It’s a British show, so it’s ‘foreign’ to me as well. 🙂 Pretty great satire on ‘amusing ourselves to death’. The show is commonly referred to as “sci-fi” which seems to be a bit of a misnomer. If you can find it, its worth checking out.”+1 for Black Mirror, it is a great show. 🙂
Shawn
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[Jeremy Garchow] “[Joseph Owens] “”Black Mirror”… I will have to look for that. You know I am a foreigner. Is it on Netflix?”
The first two seasons (a whopping 6 ‘episodes’!) just arrived on Netflix in the US a few weeks ago. It’s a British show, so it’s ‘foreign’ to me as well. 🙂 Pretty great satire on ‘amusing ourselves to death’. The show is commonly referred to as “sci-fi” which seems to be a bit of a misnomer. If you can find it, its worth checking out.
“It’s also worth searching YouTube for some of Charlie Brooker’s( the Writer of Black Mirror) other work.
Here is his take on News Editing!
https://www.youtube.com/watch?v=aHun58mz3vI
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Why are you all so aggressively negative towards FCP X.?
Are you afraid it will take your work away?FCP X works and it is fast!
Someone said that it must measurable. Well, I would say FCP X is at least 60 % faster than Avid or Premiere.
But, it’s not the speed we should be measuring it’s the art. I’m slow at art. I change my mind a lot.If you are fast at art, use your thing.
Personally I’m diving into Nuke Studio right now.
Ciao!
Anders Utterstrom
Chicago, Illinois -
[Steve Connor] “Here is his take on News Editing! “
I remember this one! I had no idea it was Brooker, thanks for connecting the dots.
Jeremy
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Forgive me for asking this question Joseph as I know it could be construed as provocative, but let me assure you it really isn’t.
What is your experience of working with FCPX in terms of numbers of and kinds of projects?
Genuinely curious.
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