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What we have really lost with FCP 7
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[Will Hodgson] “What we have lost is our collective experience. 13 years of insights and experiments, battle hardened in real world scenarios around the world.”
I started editing film on Steenbecks and Moviolas in 1985. I’ve learnt and forgotten more systems and workflows than Paris Hilton has had boyfriends. It’s just the way things are.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
[Franz Bieberkopf] “I, for one, doubt it this “undoubtability”.
If software doesn’t support my workflow and approach, it is not “easier” to use – it is unusable. This is quite aside from the severe limitations you note.”
I’m pretty much in agreement with that.
Even if the anecdotal accounts by some users say it’s easier, they are still that. Anecdotal.
There are plenty of entry level, pro-am, prosumer or you name it devices and machines in our modern world that are initially easy to use, but quickly show their limitation when used by an advanced users, for advanced purposes. For those users they are in fact not easier to use at all. It’s just that simple.Scott Sheriff
Director
https://www.sstdigitalmedia.com“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair
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Aye, I love unit. Have a done a few stints there. Who doesn’t like a wee soho lunch menu?
say unit was like an affirmation walking in though – OS folder structure, work practice, the general notion – you realised that everyone was figuring out things the same way – nearly identical file folder structure organisation in OSX for FCP was spontaneously happening everywhere. And unit was the place with the passcode locked room for EU apple ad work for gods sake?
In a way, what I think apple didn’t see, or even care about, was that their editing system had become, outside of itself, a structure for a lot of contemporary thought about how editing and post should take place – FCP had a real base level validity – that reality permeated half of london.
People drew conclusions about the world they were in based on the democratic strength of the application. For all its failures – it was ludicrously strong.
In many respects, Final Cut Pro was an underpinning to an important shift – that lots of people realised they could pull things together – as designers had done for years prior.
No one really needed Isis or Irix – we could happily self organise. And we did en masse. real workers of the world in a sense. death to flame and avid.Apple produced a sentence with FCP – they were saying that there was full democracy within true professional craft. In a really interesting way, they were disseminating scales of skills availability – anyone could make an OMF, and anyone could conduct absolute first rate colour grading, Final Cut Pro wasn’t an application, it was a gift platform to let anything ensue.
FCP was, more than anything else, an open patent.
The only problem I have with FCPX is that it is a brain damaged diminution of craft designed for complete illiterate morons.
It’s not an open patent now – its a burger recipe.its not communicable or real, its not transferable or valid, its certainly not intelligible: its a laughable mess of cupertino egocentric phrases like “secondary storyline” and “connected clips”, “roles”, “special sauce” “eleven spices” “umami” “amazing editing flavours”
It’s the liberal arts as a cheeseburger.
or a razor for aluminium unibody blades.
thought maybe one last rant and that. would be a shame not to no?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “thought maybe one last rant and that. would be a shame not to no?”
Actually that was pretty lucid for you, Aindreas! 😉 And even late on a Friday night!
The bottom line is that FCP “legacy” became a platform. I’m not so sure that won’t happen again, once it gets past the birthing pains.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
mate – I’m not long back from work – lets not completely over-do the irish stereotype shall we? 🙂
its really not birthing pains bud – its just not the same expressed goal. And I liked and respected the old goal.
in the end, the ultimate issue would be that no one paying money (in london) appears inclined or willing to go anywhere near this software. or its provider.
stand to be corrected etc.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “in the end, the ultimate issue would be that no one paying money (in london) appears inclined or willing to go anywhere near this software”
I certainly see the same here (Florida), but have taken some less-than-tentative steps myself on several recent projects. That’s with clients in the room and real deadlines. For the most part it’s been OK, but currently X is still very much an island, leading to a number of workarounds. The exception is with effects. Although RT playback performance is often quite poor, the reality is that the breadth of small, cheap/free – and very good-looking and creative – filters are coming out of the woodwork for X, like never before. That’s pretty attractive. And the video signal quality is also hard to challenge.
I think the segment of the market that needs interchange with other facilities and other applications, will be best served by a combination of X/Cmpr/Mtn, FC Studio and CS6. There are some additional forces that I think will come into play and move towards the strengths of CS6 and X. For example, there is a beginning push (though small for now) to edit and master in 1080p/50 and 1080p/59.94, as well as 2K and even 4K. FCP legacy and Avid are simply not capable of working in this environment.
So give it a bit of time and I think the landscape will actually look quite different. I’m sure plenty of editors will continue to put their noses in the air about X due to the necessary changes in the editing paradigm. But the labor force is changing and $299 looks really attractive to the bean counters 😉
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Aindreas Gallagher] “in the end, the ultimate issue would be that no one paying money (in london) appears inclined or willing to go anywhere near this software. or its provider.”
So what software have London companies been moving to?
Steve Connor
“The ripple command is just a workaround for not having a magnetic timelinel”
Adrenalin Television -
well, I’m not massively well informed but more or less no one is budging yet. – associated press has shifted everything to premiere – thats the only big substantive push I heard of – they published new working practise for all producers working with the software like.
for what I know barring that – ESPN is still FCP7, MTV Viacom commercial EMEA stuff is still FCP7, a very big web design firm I do stints at is still FCP 7, Disney EMEA is still FCP 7, GREY the advertising behometh is still FCP 7 in all suites, basically… no one has moved yet.
more than one person has said they’re not inclined to move because they’re happy with their pool of editors, and a lot, an awful lot of london editors are FCP – particularly short form and commercial stuff.
no one seems at all inclined to do anything hasty, and all the kit still works.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “more than one person has said they’re not inclined to move because they’re happy with their pool of editors, and a lot, an awful lot of london editors are FCP – particularly short form and commercial stuff.
no one seems at all inclined to do anything hasty, and all the kit still works.”
It must be a tricky decision for a lot of companies, the Editors will be waiting to see which way they go and vice-versa. I think if CS6 had’n been such an improvement the shift back to Avid would have been inevitable.
Steve Connor
“The ripple command is just a workaround for not having a magnetic timelinel”
Adrenalin Television -
[Steve Connor] ” I think if CS6 had’n been such an improvement the shift back to Avid would have been inevitable.”
I’m not sure it’s a matter of CS6 being better. PProCS5.5 was pretty good. PProCS6 was more a UI overhaul than anything else. The Adobe approach is simply a closer fit into the FCP “legacy” workflow than Avid is. It’s easier to swap FCP 7 for PProCS6 by simply replacing one cog with another. That’s mainly due to XML and the easier ability to natively deal with QT files. Moving to either FCP X or Media Composer means a lot more than just changing edit software.
Right now there’s a lot of push-back from the editing community. Apple currently seems to be in a mode to adjust to customer and enterprise pressure. For example:
I think the next update will give us the best read so far into the direction ProApps has taken. I think it will also set the decision for many.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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