Chris Harlan
Forum Replies Created
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[Mark Dobson] “For someone working with file based formats, doing everything ‘in-house’ and delivering a file based end product what possible advantage is there in returning to FCP7 or Premier Pro?
“I find it very difficult to believe that you are asking that seriously. Multiple open timelines. Advanced sync indicators. The ability to customize your screen or screens to your liking. Source windows. Tracks. A mixer. The list just keeps going. You may not use any of this stuff, but I assure that other people do. Pretending that you are unaware of this seems a tad bit snide.
[Mark Dobson] “FCPX does everything I need to a really high, broadcast quality, standard with a minimum of fuss and complication.
“I’m happy that you’ve found something that you like. I’d say that your description fits my thoughts about FCP7, Premiere 6, and Media Composer 6. It is not, however, what I think of X. X certainly does not do everything I need. But, bravo that it works for you. I need sync marks. I like multiple timelines. I want a mixer. I want easy, apparent access to my audio files in the form of tracks.
[Mark Dobson] “I don’t want to return to the square clunky world characterised by FCP7 and emulated in Premier Pro.
“There’s no reason that you should have to, especially if you are happy with the “square and clunky” world of FCP X. I mean, jeez, you can’t really rearrange anything. Yeah, you can make it do two monitors, but just barely. It just doesn’t have the versatility of either FCP 7 or Premiere. But, hey–some people like that whole square, clunky locked-down thing. I mean, who wants all those choices, right? I mean, that kind of freedom can be a little overwhelming, huh?
Mark, square and clunky are in the eyes of the beholder, and to me, X has been severely clunkified. That doesn’t mean that I think there aren’t any number of uses that X might be best for. And, I don’t insult people for using it, or liking it over any other bit of software. What I get a little tired of, however, are evangelists–on both sides of this issue–who can’t or won’t see beyond their own needs.
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[Mark Dobson] “Editing is a core part of our production company workflow and I really value having learnt FCPX and can see no advantage in returning to FCP7, or of learning Premier Pro.
“I was gonna argue with you, Mark, but I figure what’s the point. Lets just say I can see an advantage in returning to FCP7, or of learning Premier Pro.
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[Shane Ross] “The other editor needs to buck up and use Premiere. They are very similar and there’s not excuse for them not doing it. Trying to get the native/raw footage converted to work with FCP, and link to the sequence you made, will be a LOT more effort than the person just learning PPro.
I’m more comfortable with FCP too…but this latest job I’m using Avid (for a variety of reasons). So I bucked up and went Avid. I’ve used Premiere on many jobs too.
They need to use Premiere. If time is an issue, don’t battle with converting and linking…just have them learn the darn thing.
Shane
Little Frog Post
Read my blog, Little Frog in High Def
“I agree with Shane, unless the other editor has the right to refuse, in which case, you have a lot of work in front of you. I found that, with a couple of hours of tutorials, my transition to PPro from FCP7 was extremely easy. I run into a few things now and then, but can go back and forth between them without much effort at all. If you can convince him to do so, I would go that route.
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[David Powell] “You weren’t missing out on any jobs in FCP X and my guess is you won’t be for a while (if ever). There are plenty of jobs still going around in FCP 7. It is a bummer to have to learn a software that’s EOL, but, all track based editors are similar, and you can figure it out, especially if you’re using CS6 as well.
“Chris, I don’t know where you are, geographically, but I echo David’s sentiments. I also think that Pr 6 has VERY much in common with FCP 7, so learning one will help you learn the other. If you are in a very dense media market like LA or NYC I’d also recommend learning Avid Media Composer. Currently, I look at FCP X with some curiosity, but have–for the near future–little to no interest in pursuing it professionally.
I’ve always liked Sonic Foundry’s (Sony’s) software. I was using Vegas back when it was just a DAW that could also do video. My gut is that you will find Premiere and FCP 7 a much easier transition than going to FCP X.
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[Lynette Gilbert] “Thanks for the heads-up!”
Pr6 is pretty cool, and it is an easy transition from FCP. If I were in your shoes, I’d probably be thinking CS6. What’s your i/o card?
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[Jeremy Garchow] “Thanks for that walk down memory lane.
“Hey, when I was a little kid, Bozo came to my birthday parties. Because it was my uncle Vance, I don’t think I realized what a mind-blower that was for the other kids until many years later.
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[Lynette Gilbert] “No, sorry; these are clips from the Chicago Bozo show.”
The Chicago show was supposed to be terrific.
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[Lynette Gilbert] “and VHS (like Bozo show clips – I cannot tell you what a find that was!)”
Bozo?! I don’t suppose any of those clips would be of Pinto or Vance Colvig, would they? Pinto originated the role, and his son, Vance later played the part Live here in LA. Vance was a close friend of the family, and I thought of him like an uncle. A very funny guy. I miss him a lot.
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Thanks! I didn’t know about that Slip Perf. command. Nice overview, too.
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[TImothy Auld] “No, you’re not alone. I find it immensely useful and miss it very much when I’m on other systems.
Tim
“Glad to hear! No one ever seems to mention it. You can kind of get next to it with multiple timelines in FCP7 and Pr6, but its not quite the same. Of course, when I’m in MC, I miss multiple timelines for other reasons, so it kind of evens out.