To Editors thinking of switching to FCPX 10.1

[James Lackleter]

I’m not defensive. The main point to be taken away from this thread is that young editors should not waste time learning FCPX because it’s not used in the entertainment industry.

[Charlie Austin]

[james Lackleter] “The main point to be taken away from this thread is that young editors should not waste time learning FCPX because it’s not used in the entertainment industry.”

Interesting observation. Not true, but nonetheless… interesting. I’d be delighted to hear your definition of “entertainment Industry”.

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[James Lackleter]

I can’t help those of you who made up your mind to cut with this already. If you think this program is used in the entertainment industry, (in my case strictly film) but limited to broadcast. You simply do not work in the industry and probably cut weddings (there’s nothing wrong with that it’s good money) Done here, cheers.

[Charlie Austin]

Um..OK, have a nice day.

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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~

[Oliver Peters]

It seems that advice is a bit short-sighted. Apple is playing the long game, which means that they probably see it as at least five years before X really has a strong presence in the market share of professional editing. That’s around the time young editors will start to get into positions as main editors. If they know X well and it does become widely used in that space, they will have made the right choice.

If they intend to work in Hollywood, then they also absolutely have to know Media Composer. If they work in films, they probably won’t get past being assistants for many, many, many years. If they work in documentaries, indie films, trailers, corporate, commercials – then it’s completely up for grabs. Especially now with 4K as the next buzz word feature.

Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[James Lackleter]

The project I had in X was red footage and I used the red code, which I loved. Was so simple, but the fact that the project shut down as it became more complicated is what annoyed me. When I say complicated I mean addition of audio tracks, this is what I’ve concluded to be the rough of the problems I experienced. The more audio tracks added, the more problems.

Oliver I have a question, they shot a scene in 24 fps (they is client) along with recorded audio in 24 fps. The whole film is 23.98, every other scene. I’ve never had this happen, I don’t like the way the audio sounds when changing the framerate to 23.98. Any suggestions or should I bite the bullet.

I’ve seen a couple people mix frame rates some in 24, some in 48 online. I’m not sure what would happen on a digital projector if I go this route.

[Petros Kolyvas]

I feel a bit of deja-vu here.

I vaguely recall this exact same discussion happening around Legacy when it started to make inroads.

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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Oliver Peters]

[james Lackleter] “When I say complicated I mean addition of audio tracks, this is what I’ve concluded to be the rough of the problems I experienced. The more audio tracks added, the more problems. “

Actually, no, I would say the problems started by trying to do a creative cut with native RED camera raw media. I don’t believe this – or any other software – is up to doing that yet without incurring some type of problems (at the level of feature films). Were these synchronized clips using multichannel BWAV files? If so – yikes!

[james Lackleter] “Oliver I have a question, they shot a scene in 24 fps (they is client) along with recorded audio in 24 fps.”

The client screwed up big time. Camera rule #1 is know what frame rate settings you are supposed to be using. By audio being 24fps, do you mean the stamped timecode? Since audio itself has no fps value – only sample rate.

[james Lackleter] “I don’t like the way the audio sounds when changing the framerate to 23.98. Any suggestions or should I bite the bullet.”

I would not trust the NLE to correctly convert speed. I have never liked what FCP “legacy” did with non-optimized audio and I don’t feel much differently with X. Avid does a good job with sample-rate conversions, but your real issue is that both audio and video are wrong. I do not recommend fixing this in FCP X. You’ll probably need to convert the RED raw files to ProRes and then alter the frame rate to 23.98, such as with Cinema Tools. Then I would also change the speed/SR of the audio using some other tool – either a specialized audio tool (Wave Agent?) or encoder (Episode?). Then re-import and sync these in X to make them work correctly with the other scenes. My 2 cents.

[james Lackleter] “I’ve seen a couple people mix frame rates some in 24, some in 48 online. I’m not sure what would happen on a digital projector if I go this route.”

Please clarify this. I’m not sure what you mean. I don’t understand the 24 and 48 references. The only 48fps films I am aware of are Peter Jackson’s and that required a LOT of work during the finishing stages.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Lillian Young]

You don’t have to convince me. Coming from FCP 7, I jumped fully into FCPX. After several (2+ hour) tutorials, I got it. Ready to edit.

For two months in a row, daily, I worked on 3-4 projects (3 small, one big) in FCPX. I cannot tell you the level of frustration and disappointment (can’t lock storylines, workarounds for simple stuff like in/out points to export a section, having to create comps for simple manipulation, buggy audio peaks, etc.)

I want to start a thread but I don’t feel like putting myself out there to be stoned by FCPX enthusiasts. Hey, I wanted to love it also. Now I feel like a fool who wasted two months.

So today I tried Premiere and in the first few seconds, it just felt more pro. Being an After Effects animator, the interface was comfortable.

I may go with that or Avid, but FCPX? Only for small, personal projects that I want to apply FCPX-only plugins to.

[James Lackleter]

Yea the people who post in this forum are enthusiasts. But google search will lead one here into the topic of FCPX. Stick with Avid, if you are a student it’s only 300 $ same with Protools. That being said if you insist on using the program many are willing to help on this forum.

Also compound clip will essentially lock it for you if you’re still using it.