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Thank you Apple – and don’t change course. Please
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I have absolutely no problem with people who use X and are happy with it. If it works for you at its price point then you would be kind of crazy not to use it.
Tim
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[Michael Gissing] ”
I am no fan of FCPX but I do think it has reached a point where I can advise editors that there is a broadcast workflow if you want to use it. I know many feel burnt by Apple and this debate has certainly gone beyond bland comment often but slagging off at people in ignorance is hardly edifying.”Always agree 100%. Choose the tools that work best for you!
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[Carsten Orlt] “Could you explain how it does work when you put 5 different codecs into one sequence? Will the final output switch on the fly between the different codecs or does it convert everything on the fly to a chosen master codec? I always thought you need a final render in the end at least?”
From Premiere Pro’s POV, there is no ‘codec’. It’s working space is resolution independent so it doesn’t matter. When you choose a sequence preset, it makes the frame rate, frame size, aspect ratio etc. conform to what you tell it to, but you don’t need to necessarily put that kind of media into the sequence. I’ll let McGavran or an Adobe engineer correct me here if I’m in error.
Premiere Pro seeks to make frame rate, codec, aspect ratio etc. unimportant to the editor. you should be able to mix any codec that we understand on the timeline regardless of how different it is from your sequence preset.
The only area where we’ve had problems is when delivering outputs for broadcasters to iTunes deliverables. When you mix certain formats together on export there are small interlacing issues we’ve experienced in the past. My understanding is that we have addressed those with CS6 and I’m looking to hear back from my broadcast customers about this specific thing.
Final output is what you make it. The idea is that you never render ever while editing. You only render when you want to make final outputs. So, the PRemiere Pro timeline has 5 different codecs on the timeline and you want to make an OP1a, an H264 and an Animation output. You would select those three output types and Adobe Media Encoder would generate them from the Premiere Pro timeline.
Hopefully, this makes sense and I’m answering your questions. Let me know if I missed something.
Dennis – Adobe
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[Carsten Orlt] “What I don’t understand is why you are so angry that you have to throw around insults after insult just because I stated my personal opinion. I did so openly clearly stating that it is MY opinion.”
Labeling something an opinion does not remove you from being responsible for what you said. While Scott may have gone a little overboard with some of his statements I think he articulated his, and my, anger very well. Try reading this section again:
Scott SheriffAs I said before, no one in this, or any other forum ever once suggested taking away your storytelling tools, but you seem to be perfectly OK with the loss of ours. After all, your subject line says “Thank you Apple – and don’t change course. Please”.
So we bitched about the loss of our tools, the loss of choice, lack of notice, and get zero support from folks like yourself. Besides being perplexed by this attitude, I find it quite distasteful how so many fans of X are not just unsympathetic to the situation other editors and business owners find themselves in, but that they seem to be quite happy about it.
What the heck? As long as you have what you want, who cares about the rest of us? Right?
So, while you may not have intended it as such, your “opinion” is actually an expression of glee at our problems. On that, and most everything else he wrote, I agree with Scott wholeheartedly.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “While Scott may have gone a little overboard”
A little overboard? Calling me an 80 year old short of getting to the point of being at room temperature is a little overboard? Herb you might be angry but please think before you defend something that is beyond rational.
I happily take responsibility for my opinion. That’s why I posted it, right?
But according to your logic this forum exchange only allows for your point of view because if I say my opinion I declare everyone else’s non valid? You can’t be serious? Because if you think about it than your opinion [Herb Sevush] “is actually an expression of glee at “ my problem….
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Agreed. Some of the language was maybe a little hyperbolic (but seriously who am I to talk), nevertheless Scott’s post there was a pretty ringingly sound, forceful argument, and a personally satisfying read for the likes of meself. To my mind, it cut clean through a lot of stuff that gets bounced around here.
https://vimeo.com/user1590967/videos
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
I’m in the camp that likes most of what FCP X does EXCEPT the editing. The magnetic, trackless timeline causes more juggling inside the timeline than any other NLE I know. This is especially true when a client is sitting over your shoulder. Here are but two small examples:
1. Two primary storyline clips, each with a connected clip attached. P1 with C1, P2 with C2. Now, swap the P1 and P2 clips with each other WITHOUT swapping the order of the connected clips. So P2 with C1 and P1 with C2. This would require 1 keystroke with a modifier in most NLEs. It takes 3 or 4 with X and the exact locations of where C1 and C2 end up are very imprecise.
2. When you have a nice, tighly organized timeline and the client asks you to “open it all up a bit”, letting it be longer. This is reasonably easy with asymmetrical trimming in most NLEs. In X you end up adjusting primary storyline clips, often have to change connecting points and adjust each and every connecting clip.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
PS: not to mention that every action is slow, thanks to the stupid built-in visual animations for nearly everything you do. For example, “replace” freequently takes 1 to 2 sec to activate before the application brings up the dialogue box.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Carsten Orlt] “A little overboard? Calling me an 80 year old short of getting to the point of being at room temperature is a little overboard? Herb you might be angry but please think before you defend something that is beyond rational.”
I took it as being funny, at your expense. How about if I say he was “very overboard”, does that make it jake.
[Carsten Orlt] “But according to your logic this forum exchange only allows for your point of view because if I say my opinion I declare everyone else’s non valid? “
No, your missing the point. Stating something is “your opinion” doesn’t affect the validity of what you say, it doesn’t make it non-valid but it also doesn’t offer protection when you say something idiotic. Labeling a post “my opinion” is a waste of 9 letters – post what you want and get on with it.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[David Cherniack] “NLEs are the most complex applications in computerdom.”
I taught myself FCP, but stuff like AutoCAD and Maya is waaaaay more complex. Full-featured NLEs aren’t trivial, but they aren’t the most complex software out there by a long shot.
[David Cherniack] “What great applications have they ever developed in house from scratch? Even the non-application OSX is derived from elsewhere. “
I guess it depends on your definition of “great”, but for OS X’s part, the engineers that built it at NeXT went to work at Apple and turned it into OS X, so it isn’t like Apple didn’t have or doesn’t now have top-teir engineering talent. Autodesk didn’t develop Smoke, they bought Discreet. After Effects originated outside Adobe. Avid acquired DS. What’s the difference?
I agree Apple’s priorities are clearly different than those of the other Big A’s, but let’s keep things in perspective. I’m assuming by “high-end” you are referring to studio feature motion pictures and broadcast episodic TV. FCP was dominant below that, and arguably still punching above its weight class when it was used to win the last two Oscars for editing.
FCP had only recently broken into the high-end by the time it was scuttled, Premiere Pro has yet to achieve the same cachet (and it looks like it will soon), and the rest of editing’s high-end has been dominated by Avid since the NLE replaced the flatbed.
Best,
Andy
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