what Prime time shows/ Movies were cut on FCP?

[Dom Silverio]

Lost Translation is definetly Avid. Sarah Flack had her forray on FCP earlier in her career (Full Frontal) and decided not to use it for her next project.

[Steven Gonzales]

Also Undertow (2004), Bittersweet Place (2005), Chicks 101 (2004), Rhythm of the Saints (2003), The Rough South of Larry Brown (2002).

[Dave Kulawick]

everyone who cashed the check from Avid, edited on Avid; and everyone who cashed the check from Apple, edited on FCP. Right?

—
Dave Kulawick
Instructional Media
Carleton University

[Tom Wolsky]

You should read the book. It was quite the opposite of that simple.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Steven Gonzales]

You mean companies will pay you to use their edit system? Where do you sign up for that?

Nobody I’ve ever heard of had that deal.

Read the book “Behind the Scene” by Charles Koppelman and you’ll understand that Apple didn’t overwhelmingly embrace Cold Mountain, nor did they pay anything.

[Walter Biscardi]

[dave kulawick] “everyone who cashed the check from Avid, edited on Avid; and everyone who cashed the check from Apple, edited on FCP. Right?”

I’m sorry but this is one of the most ignorant statements I’ve ever seen on the Creative Cow. This really slaps in the face of everyone who has built a successful production facility through hard work and spending their own hard earned money.

Walter Biscardi, Jr.
https://www.biscardicreative.com

Director, “The Rough Cut”
https://www.theroughcutmovie.com

Now Posting “Good Eats” in HD for the Food Network

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Shane Ross]

[dave kulawick] “everyone who cashed the check from Avid, edited on Avid; and everyone who cashed the check from Apple, edited on FCP. Right?”

I’ve edited using both and I have never received a check from Avid nor Apple. So I have no idea what you mean.
They don’t pay us…clients do.

Shane

Alokut Productions
http://www.lfhd.net

[Blub06]

WHERS MY MONEY!

I have cut network shows on both systems, I even had Apple tramp through my room endlessly in 2000, NOT A DIME! Its not like they didn

[Mark Raudonis]

If you include cable in your “prime time”, then….. MTV’s “The Real World”. MTV’s “Gauntlet 2”, NBC daytime : “Starting Over”, E! “The Simple Life 4”, are all cut using FCP/X-SAN.

mark

[Steven Gonzales]

The editor’s knowledge these days includes a systematic understanding of editing systems. I find that people that can talk the strengths and weaknesses of systems are good sources of info, and those that are sure they don’t like one or the other are less useful.

An editor I know loved Avid. He bought a book, and the book suggested rebuilding the media databases. Well, he rebuilt them while the Avid application was running, and his project was opened. He then had all sorts of problems with audio disappearing. I fixed the problem for him, but the fault was not the Avid program.

So in the end, it is still the strength of the editor (which now includes being technically proficient and keeping up to date on application programs). Avid has a certain momentum in the high end markets, which may partially be due to the length of time it takes to amortize a big investment.

If you know what you’re doing, you can work around any system’s limitations (mostly because you’ll understand the weak areas). When we did the first film feature on Final Cut Pro in 1999, I was only confident because I had access to an Avid system in case things didn’t work out, and I knew enough to accurately move the project if necessary.

There’s not really a “better” system, there’s only better — for a particular set of circumstances, preferences and level of experience.

Michael Kahn does some fine editing on a Moviola.