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Thoughts from the departed?
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I was going to do a post about this but I’m wondering if FCP 7 is going to be Apple’s Windows XP. I saw MS for years try to get people interested in Vista but many just ignored it and stuck with what they knew and what worked. They seem to have finally moved past that with Win 7.
I’m also seeing a lot of people sticking with FCP 7 – it works! You may have to deal with transcoding but that’s often not that big of a deal if the amount footage isn’t too ridiculous and what you want is speed and reliability when working on a long project and working with a solid, consistent codec is still the best way to do that.
It will be interesting to see how long people continue to use it. It’s not unprecedented since many of used CMX and GVG editors that were ancient by the time they finally pulled the plug but they worked day in and day out.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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[David Lawrence] “My only beef is the well know issue of render on output. This was a two-minute piece so re-rendering output for the entire thing for every client change was not a huge deal. But it’s obvious this will get unmanageable very fast as program length increases. The Adobe notion that you pay the render tax at output is IMO very misleading, as it doesn’t account for client changes throughout the editorial process.”
I agree. I think the way they have to deal with it is some sort of background or foreground rendering process with a type of codec that is lossless like FCP where if dealing with a compressed codec it just transfers that compressed info to the final file without decode/encode. I imagine you could kind of get this with using uncompressed and by selecting “use render files” but there’s really no excuse to have to work that inefficiently in this day and age.
The real time capabilities are great but usually you start to lock various parts of the cut and it’s not that big of a hassle to render those in lunch breaks, bathroom breaks etc. The key is to not have to redo work/rendering that’s already been done.
I think Adobe needs to look at this as an opportunity and not a burden because if they can crack this it will cause many more people to go with PPro.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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[Scott Sheriff] “OK, the subject of this thread is “Thoughts from the departed?”, so is that you? Have you departed, or moved on?
Or are you here just to cheerlead for apple? If so, start a new thread.”He won’t tell you, but he’s moved on: https://fcpxmegatest.blogspot.com/2011/07/using-peakbreak-as-our-first-fcp-x.html
Started in July 2011
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[Robert Brown] “The real time capabilities are great but usually you start to lock various parts of the cut and it’s not that big of a hassle to render those in lunch breaks, bathroom breaks etc. The key is to not have to redo work/rendering that’s already been done.”
Exactly. The efficiencies of real-time native editing are fantastic, but the inefficiencies of re-rendering the same stuff over and over for every output quickly cancels out any speed advantage.
[Robert Brown] “I think Adobe needs to look at this as an opportunity and not a burden because if they can crack this it will cause many more people to go with PPro.”
Yes!
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl -
Still on FCP 7, not much interest or momentum surrounding X at the moment. I’d like to try it at home but dont have a MAcBook lol
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Still working with FCP 7, testing Adobe production suite and MC 6. Possible workflow for the future: Editing on MC 6 or FCP7, finishing on smoke 2013 on a seperate workstation. This new workstation will be equiped with a 3D workflow.
factstory
Rainer Wirth
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My bottleneck is not on ingesting strange footages, organizing or rendering but, as has been pointed here, on editing, deciding where to put each element and so far for my anarchic editing, FC.7 is the NLE that allows me more flexibility.
Next stop: PP
I do not dismiss FCPX as a pro NLE, but I do not consider it as an option for my self, mostly because at my 55s I have things more interesting to learn than a new NLE and I know that no NLE will help me to make more interesting my videos.
rafael -
David,
… sidetracking (and I think I’ve asked you this before) but I’ll ask anyway:
How was your experience with audio work in PPro?
Franz.
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[Jeremy Garchow] “[Scott Sheriff] “OK, the subject of this thread is “Thoughts from the departed?”, so is that you? Have you departed, or moved on?
Or are you here just to cheerlead for apple? If so, start a new thread.”He won’t tell you, but he’s moved on: https://fcpxmegatest.blogspot.com/2011/07/using-peakbreak-as-our-first-fcp-x...”
Haha….I am not afraid in telling you….yes I moved on to FCPX.
And if Scott thinks my opinions are not facts…..well…the thread is a direct question about our subjective feelings. I never claim what I say are facts. I don´t write it into wikipedia. I throw it here up for discussion. But the opinions of FCP7 users are just as fact-less as mine.
To think the client doesn´t care about 32-bit is very short-term thought. Every render process costs money. FCPX and CS6 are spinning FCP7 around and depending on the size of your project 64-bit can mean hours or days.
quote Scott Sheriff: Tracks are a step backwards?
LOL! That sounds very much like these new 5D shooters that think lights and tripods are outdated, or a step backwards.
quote end……but Scott, what if the trackless is like putting a 5D on a dolly or jib? Ever thought that trackless could be better. Trackless could free your workflow from the restrictions of tracks. Sure there are moments when a steady tripod shot is needed. But then there are many shots that are so much better on steady cam/dolly/crane. There are moments when you might feel the need to have all spanish titles on one track, so you can turn them on/off and have a visual reference of where they are. But roles in FCPX does it just as effective.
And it is a fact FCP7 is outdated. The workflow might still work for many. There are still people using Media100 successful. But I am not a hip-teen who thinks I have to follow the newest hype. In that case I would be using CS6 on Win7 or a Linux machine. I have used NLEs for 15 years now and a few have won me instantly with their approach: Speed Razor, Fast (later Liquid), FCPX. Not FCP7….FCP7 always seemed like a hybrid to me: wanted to serve the tape-world (like Fast) and the tapeless (like Edius).
FCPX is not finished yet. No MXF workflow, several features missing (like copy/paste of certain attributes), audio-mixing…).
But it has features that are in my world already daily necessities to keep working as I got used to the last 12 months: skimming, auditions, magnetic timeline, keyword-bins, one-button conform-speed shortcut (we over crank a lot in our sports films), project browser etc etc.
No NLE is perfect. All do something better. All need an editor who uses them properly. For me it is FCPX at the moment (despite the lack of a thunderbolt-MacPro).
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[Franz Bieberkopf] “David,
… sidetracking (and I think I’ve asked you this before) but I’ll ask anyway:
How was your experience with audio work in PPro?
Franz.
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Mine has been pretty darn good. It’s the best audio implementation I’ve seen so far. I’m using it right now to clean up Final Delivery elements and its a pleasure.
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