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To Editors thinking of switching to FCPX 10.1
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I’m sorry, but using that Conan youtube video (sooo old) shows you don’t really know how to use X yet.
There are plenty of things Apple needs to improve, but most of the ones you mention work very well.
“Always look on the bright side of life” – Monty Python
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What exactly doesn’t work for you? Audio levels? Works like any other NLE. XML works very well… and whats wrong with color correction, other that you can’t keyframe it yet. With the color board you can do the same correctios as with a 3-way color corrector
“Always look on the bright side of life” – Monty Python
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James, i think u need some training and better some wine to release strees..
Other are are very happy in broadcast… Come to happy land.. Lol -
I agree Mark – other than John D’s promo company, I don’t know a single Editor or post house here in LA that uses X. I’m cutting a comedy pilot right now and all the “kids” at the studio tried X and hated it. The show I’m cutting was started in FCP7 and xml’d over to Premiere CC where I took over. I did XML it over to X just to try to cut it there but it’s got so many issues – black clips that can never be relinked, no way to simply match frame or right-click and replace a clip in the timeline and even with all the improvements it’s still sluggish on an 8 core old Mac Pro with Library residing on its own SSD.
That said – I still think Apple will get X right in the near future and I’m sure it runs great on the new Mac Pro using all Pro Res files and starting the show correctly in X
Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1 -
Sam Mestman is NOT Walter Murch – he’s just another starving LA filmmaker trying to find a niche. He may think FCPX is ready for primetime but others, including myself, who have actually cut and managed TV series and movies etc disagree. But that’s LA, NY and London may be more open to throwing away decades of workflow and starting over with an inferior product.
Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1 -
Ah yes, but Nikolas, you – like me – are not in LA or NY or London, therefore you don’t exist. Therefore you can’t be an editor, period. 😉
Funny thing is though, we have 5 FCPX suites here chugging out broadcast programs every day, including multicam, 5.1 and lots of audio post done on ProTools… and this is all for a national network…
and imagine that: I thought I’d been an editor for 33 years…but since I use FCPX daily, it must be a figment of my imagination…
sad, very sad…
P.F.
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[Lance Bachelder] “Sam Mestman is NOT Walter Murch”
I’m not sure that workflow design and implementation is the same profession as feature film editor.
[Lance Bachelder] “he’s just another starving LA filmmaker trying to find a niche.”
From what I understand he’s a consultant who does workflow implementation although he’s certainly done other things.
Seems that’s what is background has been a lumaforge.
https://www.lumaforge.com/styled/index.htmlPerhaps starving people like to eat and he sees unexploited opportunity.
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[james Lackleter] “XML import to Logic Pro X is broken.”
It is buggy with compound clips. Broken no; improvement required, yes.[james Lackleter] “And by the way OMF has been removed from Logic Pro X. “
Where did you get that idea? Apple, in their wisdom (and I think it was in this case), simplified it, by allowing you to import OMF and AAF without requiring the user to explicitly select which format they’re importing. Have a look here for some pie: https://www.apple.com/ca/logic-pro/specs/ (under compatibility) I’ve had no real issues importing AAF or OMF from applications that properly export it. Sometimes Logic does a better job than PT![james Lackleter] “You can not layer audio with WAVE files.”
I don’t do my audio mixing in FCP X, but I have no trouble laying lots of audio. WAV or AIFF. I do normalize (in the format sense, not the audio-level sense) all my audio files to 16 or 24-bit 48k beforehand though.My very-brief-story:
I was pushed back to FCP X after the Adobe CC debacle, being pushed to CS5.5 during the FCP 7 debacle. So it goes. Theres a lot to dislike about FCP X; but there’s a lot more to like and for every time I think, I wish this worked differently, I have at least twice as many moments of “I like the way this works.”
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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger -
Patrice, thanks for reminding me! FCPX editors (especially those European ones) are amateurs, of course, we love earning money just for fun! So we really are unemployed after all, it’s just a hobby…:-))
[Patrice Freymond] “and imagine that: I thought I’d been an editor for 33 years…but since I use FCPX daily, it must be a figment of my imagination…”
Are you sure you are using FCPX?… Did you take the blue pill or the red pill?
“Always look on the bright side of life” – Monty Python
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Speaking of LA, it reminds me of a Documentary called Side be Side produced by Keanu Reeves.
I’m sure many of you may have seen it. it’s about the changing technology in the film industry.
It couldn’t be more LA, as Reeves interviews some of the top film makers in the biz.
Scorsese, Cameron, Fincher, Soderbergh, Lucas and more.
I enjoyed watching the film but one thing caught my eye.
The camera they were shooting with.It looked to be a low priced fixed lens 1/3 chip camera. Maybe the HPX250
Huh??????????
No Red? No Alexa?
This wasn’t some cut away camera, it was the A camera.
It baffled me. The whole film is about some of the best camera’s in the world yet they were shooting with this lower end camera.
I’m sure Reeves has more money and Hollywood access than anybody that would post on a site like this.
He could get any camera he wanted.But it occurred to me, it didn’t really matter what kind of camera he used.
He told the story well. Whatever he was using
We like to focus on equipment and that’s cool but try to catch that film if you get a chance.
Kind of puts things into perspective $
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