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Update Soon?
From Larry Jordan: “My sources are telling me that we should see an update to Final Cut Pro X in the very near future. (Though everyone is being coy about the specific date.) ”
Best,
Geoff -
37 Replies
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Summer, 2012
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There is no specific date. The rumors point to after IBC. That would mean mid or late September. Assume some bug fixes and minor features.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Wouldn’t make any sense if they submitted a release with only minor bug fixes. Wirh all the heat that Apple has experienced, it would be fair to assume that they try to meet some of the demands; XML, XSan, Xxxxxx….
– No Parking Production –
2 x Finalcut Studio3, 2 x MacPro, 2 x ioHD, Server w. X-Raid
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As I said, probably some minor features. For example, releasing the SDK for the improved XML. I wouldn’t hold my breath on too much else, although Xsan integration might be there tied to Lion. Probably only reading from networked drives. Probably not using shared Events or anything like that.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
The FAQ did specify that the upcoming audio output control via metadata was coming this summer.
Does Final Cut Pro X allow you to assign audio tracks for export?
Not yet. An update this summer will allow you to use metadata tags to categorize your audio clips by type and export them directly from Final Cut Pro X.Best,
Andy -
[Andrew Richards] “The FAQ did specify that the upcoming audio output control via metadata was coming this summer.”
Correct. We’ll have to see what form that takes. This is essentially enabling the audio roles function beyond search (its current capability). Right now you have dialogue/SFX/music assignments to each clip with audio. Presumably this means exporting all clips ID’ed as “dialogue” in the project, for instance, to some location. Whether or not this really means true multi-track assignment awaits to be seen.
Here’s an example. In the long-form world, editors frequently deal with multi-channel sources (2-16 mono source tracks). Often the editor builds the dialogue checker-boarded onto the timeline to tracks 1-4. Then SFX 5-8 and music 9-12. Then to be safe, the additional unused mics from the source clips are also placed onto 13-24. The mixer then knows to use tracks 1-12 from the OMF for the mix, but if needed pull the clean audio from the extra mic sources from track 13-24. The question is whether this will be possible through metadata.
Remember, right now FCPX can’t even deal with the type of multi-channel source audio complexity that I’ve described, without breaking the clips apart and risking out-of-sync issues. And if it can, will the metadata entry be more time-consuming than if you were editing in tracks to begin with?
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
This was posted on Larry Jordon’s blog from an unnamed source. It confirms a lot of suspicions. That it’s all going towards tablets. It seems to be a matter of how fast Apple makes the transition. The way they released FCPX would suggest faster than slower. We’ll probably learn a lot the next time the new Mac Pro’s should be released, like do they release another Mac Pro?
“Apple says that FCP X is about the future of NLE. After thinking about it, I think they are right.
It’s not just about the GUI or features per se… but the fact that our culture is going mobile and our work along with it. A new generation is growing up and moving them from iMovie to FCPX will be easy. Also the new generation will invent their own workflows and their own content and their own way of doing things. Apple may have jumped the gun in a way that made it impossible for a percentage of the current editing community to go along, but those folks are not the future. Not in the same way a 16-year-old iMovie whiz is.
Look at the big picture. Sales of standard PCs have fallen while portable products have been flying off the shelves. This is no fad, it’s the future.
Watch as the system requirements for NLE on the Apple side look more and more lean. Apple owns both hardware and OS, my bet is that they will leverage that to guarantee they are ahead of the curve in performance requiring smaller and smaller hardware overhead. It’s in this way, as the new generation of editors comes up, FCP will take back it’s place as the de facto platform for any level of project. I’m absolutely convinced (as is Apple) that sooner than you think, a teenager today will be working on an episode of “Extreme _____ Makeover” using an iPad__ with lots of storage on board. I already saw someone using an iPad as a 2nd display for FCP X and how some functions were already touch screen enabled. Those pissed off edit suite owners may be pissed off at what Apple has done, but just wait till all those up-and-coming digital kids start to see those very expensive edit suites as dinosaur grave yards.
That’s where Apple is headed and a powerful, sleek FCP that uses iCloud technology along with all the other new technologies is where the future really is. Does anyone remember those $250,000 edit suites that got replaced by a $1,300.00 Final Cut Studio, back in the day? Well, Apple is doing it again with one major change, this time they are obsoleting themselves before someone else does.
It really is the future, or at least it’s headed in that direction.”
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On a recent project in Premiere, I set specific tracks for narration, interviews, soundtrack music, and others as needed for background and other sounds.
Then I ran through the timeline with the Premiere audio mixer, mostly in real time, and got the balance I wanted for the final product. It’s great because you can just mix one or two elements at a time if you wish, drop in or drop out.
As this programme went on air in two languages, I then stripped the English narration out and put the other language narration in and most of my mix held.
How do I do this with FCP X, and – if I can’t – how likely is a metadata solution to fix the fact that I can’t?
And no, I don’t want the standard Steve Jobs answer: “Well, you shouldn’t want to.”
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“Those who cannot remember the past are condemned to repeat it”
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It’s pretty obvious that’s what they’re doing. But why the hell they had to EOL FCP 7 and name this new system FCP X is anyone’s guess. Just calling it Final Cut Extreme or something similar would’ve sufficed. Or maybe “New Final Cut Pro” and then bring back the old Final cut as “Final Cut Pro Classic.” There’s still time Apple! Final Cut Classic has a nice ring to it. Add a few features like background rendering and h264 support and make it 64 bit and it will be a hit!
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[Gary Pollard] ”
How do I do this with FCP X, and – if I can’t – how likely is a metadata solution to fix the fact that I can’t?
“That’s really the question isn’t it? I mean why bother? The original FCP was a hit because it was a very good NLE at a very good price at a time when Avid was draggin ass. X is a totally different animal. The price may be good – without 3rd party stuff – but it can’t touch Avid and PPro for pro use. I guess they’re banking on the teenagers which will probably pay off someday.
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