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View from a little guy: autosave
Unlike many who have posted I do not have a lot of overhead in my business. No sending to color correction, rarely do audio sweetening, rarely collaborate with other editors. (Wish I did, but that is off topic). I hoped that this would make the transition to FCPX easier. I also usually shoot on DSLR and send out spots via ftp so I I/O is less an issue for me than for some.
I installed on a clean boot drive. I bought the excellent training videos from Ripple and practiced for a week. Then I edited a 5 minute video fro a local film community group- so far so good. So I decided to try it with a real paying job. I picked a simple project- 2 simple :15 local TV spots- that I can usually knock out in about 90 minutes from edit through upload. I gave myself 2 4 hour sessions to complete work. And failed… miserably. Forget the change from bins to keywords. Forget the loss of most of my plugins. Forget the loss of round tripping to Motion. Forget not being able to see my work on a broadcast quality monitor. The final nail was that there is no way to force FCPX to save projects. In theory it is always autosaving. In reality, it forgets a lot. You can open a previous project and find some of your work gone. Open it again and find even more gone. Suffer a crash and lose 2/3rds or more of the blood you have been sweating out to get this done.
After 7 hours I gave up and booted up FCP7. Took the elements I had make and was done in 45 minutes.
I am not giving up on FCPX in a future incarnation as I am intrigued by the keyword based organization of media metadata. I will keep practicing to see if I can start thinking the X way instead of the 7 way. But as Apple has killed FCP7 (and Shake, and DVD Studio, and probably Soundtrack and Color) I have no choice but to start writing my map of how to move past FCP7. For my likely future business that has to include a strong possibility of switching to Premiere. I will grab their cross-grade while they are still giving a discount just to protect my business.
Chris Paul
POV