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The future of FCP
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Some of your Premiere features are old news for FCP.
-I was editing proxies in realtime almost 3 years ago with FCP. That’s what the M and P proxies are for.
-RED Alert creates RSX files that can update the proxies in FCP immediately(while in the timeline). Other RED apps expand on this. Hit command + tab and it’s as quick as applying an effect.
-You can import look presets based on the metadata and apply them if you use the log and transfer workflow.
-Color has full access to the metadata via the RED Tab in the primary room. How often do you need to change kelvin on the fly within your NLE anyways?
…but I agree, Pro apps aren’t going anywhere. Here’s a good read…
https://www.philiphodgetts.com/2010/05/18/why-apple-insider-couldnt-be-more-wrong/
Here’s another one on the Mercury Engine…
Google how much that system costs.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
Wow, if you’re basing your decision on that, you better jump ship immediately. After all, Avid and Adobe both has major introductions at NAB while Apple did not. I wonder why Apple isn’t mentioned on their home pages……
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” featuring Sigourney Weaver coming soon.
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[Shane Ross] “Phil Hodgetts has a VERY well thought out response:
https://www.philiphodgetts.com/2010/05/18/why-apple-insider-couldnt-be-more-...”
This is a very good response and it’s still in Apple court to deliver. We still don’t know exactly what Jobs calls “Awesome” and “Kickass” since I can’t recall the last film he edited on his own.
But we’ll all just have to wait and see what path we go down next. I’m glad to know that my entire infrastructure can switch to any of the A’s pretty easily so if what Apple does release is underwhelming, it’s easy enough to switch. But it would have to be VERY underwhelming.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” featuring Sigourney Weaver coming soon.
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Hi Illya,
I think you misunderstood the point I was trying to make which was that FCP wasn’t the only company doing decent RED integration/work.
Let me also clarify a couple of other bits from your response.
“I was editing proxies in realtime almost 3 years ago with FCP. That’s what the M and P proxies are for.”
Yes I know, but with Premiere Pro and others, you’re able to use the original R3D media all the time on any system including laptops. Why use proxies when you can always use the original media and get the same performance? 😉
You can import look presets based on the metadata and apply them if you use the log and transfer workflow.Yes, but are they non-destructive – are they burned into the pixels? Can they be applied to clips after they’ve been logged and transferred? I don’t know the answer to these questions for FCP, but I do for Premiere Pro.
Color has full access to the metadata via the RED Tab in the primary room. How often do you need to change kelvin on the fly within your NLE anyways?
That’s great and clearly Adobe does not have a deep grading tool like Color inside of it’s NLE.
Philip’s post is a nice one – thanks for the link.
The second link is also very nice but obviously written prior to the shipping of CS5. I am the ‘Dennis’ mentioned in the article 😉 and my usual RED demo for CS5 is on a laptop. It works just fine.
Your implied asperity that to do what Adobe does costs an arm and a leg is misleading and also misses the point. Adobe is the first company to have a 64-bit native (cocoa) non-linear application on the Mac and we’re the first and only company that allows creative artists to harness their GPU to enable workflows that were either difficult or impossible before. That’s good news for users. Competition is good and if one tool isn’t doing it for you, then there are others.
Again, my point here was to mention that there are lots of choices and that specifically with RED workflows, there are a number of good ones. Finally, in today’s content creation, most people are using any number of suites (Apple, Adobe, etc.) to create content and so it’s important to remember that the best opportunities are for enabling users to seamlessly move media back and forth between their applications. With things like XML and AAF, users have something that approaches easy.
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[Craig Seeman] ”
Generally he delivers on his promises. At least the Apple customers think so.
I’ve only seen two kinds of responses from Jobs in the media. Blunt or silence.”What is very interesting about all of this is the fact that he, or at least someone in Apple authorized to email for him, is even responding at all. Wonder if all that A & A buzz from NAB and the overwhelming silence from his A actually resonated in Cupertino.
I’m trying to recall the last time I’ve heard of him responding to personal emails regarding products. Maybe they actually “got the message” up there that A & A are serious about knocking his A off the high horse and they need to respond in kind.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” featuring Sigourney Weaver coming soon.
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Steve/Apple has been responding to email since a few months before NAB regarding various products.
I think it’s basically a new marketing/PR strategy in response to various negative rumors. Steve/Apple knows that anything coming from him is going to spread quickly.
My own guess is that a given negative rumor might generate scores or even hundreds of emails. They probably pick a half dozen or so and Steve jots down a quick response, wording slightly different for each and it’s sent using the sjobs email address. The slight differences probably lets them know who’s doing the spreading for them. The can measure the effectiveness that way.
The emails have been tracked back to various devices inside Cupertino. There were a few last month that were from an iPhone running 3.1.2 for example. These leads me to believe he’s probably responding directly but I suspect they’re being filtered because I can’t imagine he’s reading hundreds. I suspect he’s getting just a few representative emails forwarded to him and responds, usually with a sentence fragment or two of 10 words give or take.
I think Apple decided that in some cases silence is bad for business so they’re usually terse positive responses allowing the viral internet to take its course. It’s specific to NAB. It’s clearly (to me at least) a new PR response approach to negative rumors.
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I’ll side with Steve Jobs on this one.
Some of the biggest gripes I have with FCS is the lack of continuity in the UI (understandable considering their individual pedigrees) and an ingest workflow that seems to be troubling to a lot of new users. Apple is famous for the practically magical way things “just work” — log and capture just doesn’t seem to fit with that ethic.
Imagine a FCS where all the UI elements are Apple-elegant and everything you plug in “just works”.
Mark
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If Apple can streamline the UI to enable editors to be more productive w/o sacrificing power or flexibility more power to them. What I don’t want is a ‘dumbed-down’ interface or program.
-Andrew
3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
[walter biscardi] “I’m trying to recall the last time I’ve heard of him responding to personal emails regarding products. Maybe they actually “got the message” up there that A & A are serious about knocking his A off the high horse and they need to respond in kind. “
E-mails from Steve Job’s account seem to have become more frequent over the last 12-18 months. The first one I really remember is from ’08 when the Macbook update removed all the firewire ports and Steve Job’s allegedly responded to a complaint via e-mail where he basically said that for the past few years no new cameras released used FW.
-Andrew
3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
You don’t really “get the same performance” editing native R3Ds. I can’t STAND editing when playback goes all blurry like Adobe has demo’d.
I don’t know of an editor worth their salt that “doesn’t mind” blurry playback and good quality on the freeze. It throws me out of my pacing. Do you?
Kevin Monahan
60 Blu-ray Templates for Final Cut Studio 2009
http://www.fcpworld.com
Author – Motion Graphics and Effects in Final Cut Pro
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