Chris Jacek
Forum Replies Created
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And kudos to Conan for dedicating a bit on his show to an inside joke that most of the audience won’t fully understand. You can tell that he really has the backs of his creative staff.
Professor, Producer, Editor
and former Apple Employee -
But if it is just an improvement to iMovie, then isn’t it actually more more EXPENSIVE than it used to be? I mean, iMovie was once free.
Professor, Producer, Editor
and former Apple Employee -
Does this mean it would be possible to install FCS 3 under Snow Leopard, and then update your computer to Lion, and still have FCS 3 work under the Lion OS?
Professor, Producer, Editor
and former Apple Employee -
This the exact same problem I am dealing with. I recently took over and retooled a Media Production department. I am an Apple-certified trainer in FCP7, and wanted to possibly start a certification program at our college. Now I don’t even know what to do in that respect. Is Apple even allowing FCP7 workshops and certifications any more?
AS far as the professional world, there is no way I would want to send a graduate into the workforce without knowing FCP7, and probably not for another year or two. We just don’t know at what pace companies will replace their FCP7 systems, and what will they replace it with.
But yet, how do I not teach them FCP X, since it is the new thing? Fortunately, Apple’s version of maintenance licensing will give us the new FCP products for free, and also still allow us to access and install old versions of FCS (this might be the solution for those who are looking for a way to add FCP7 seats going forward).
Quite honestly, the most logical option for my curriculum seems to be teaching FCPX in the intro class, and then adding FCP7 in the advanced class. How’s that for some backward logic? But when you think about it, it’s the only way that makes sense.
Of course, I will have to supplement the advanced editing curriculum with another platform, since we know FCP7 will eventually disappear from the market. For that, Premiere seems to be the most logical choice, since I am also looking at a maintenance license for CS Production Premium. Since I consider After Effects to be vital to any media production curriculum, it becomes a financial bargain.
Professor, Producer, Editor
and former Apple Employee -
I think former Avid editors may have felt a little jilted when Avid not only added NT systems to their line, but also started neglecting the Apple side of things. I’m not sure everyone felt that way, but I certainly did.
Professor, Producer, Editor
and former Apple Employee -
So I can spend 20 years building a career, and it’s my house from college that gives me cred on the Cow! Yes, what’s up Brian?
Professor, Producer, Editor
and former Apple Employee -
That sounds exactly like what he would say. In 2000 and 2001, I worked QA on the FCP team. I still remember a good-natured slightly-drunken shouting match during dinner at Quark’s Cafe, when we were working NAB 10 years ago. The FCP designer at the time and I were screaming about how keyboard mapping needed to be added to FCP, and Randy was screaming right back “Editors don’t want that!”
In the brief time that I knew him, I found Randy to be a brilliant software engineer, who has made some truly elegant stuff. In my opinion, his genius is without question. But when I learned that he was the designer for the new FCP, I was concerned, because I never felt like he understood the end user of a video editing product.
I was one of the few people on that QA team that came from a production background, rather than a computer background. In the same way that I never really fit in with the “computer” crowd and could never fully understand them, I felt that Mr. Ubilos never really understood the sometimes eccentric editing community who relied on his product.
Producer/Editor
and former Apple Employee -
I would highly recommend using the Media Manager to create lower res versions of the project for your editors to cut remotely. You can use DVCPro HD, or something similar. From your master machine, you recomposes the full-res project to the lower res, which is an exact clone of the full res version. You take the smaller, faster project to the lesser machine (i.e. a laptop), and do all the editing. Then, when finished, use the Media Manager again, to create an offline version of the project from the lesser machine, but choose the full-res codec. Then you simply open that project on your master machine, do a quick reconnect, and bingo, you have a fully edited, uncompressed version of your project.
Chris Jacek
Butler University
chrisjacek@mac.comProducer/Editor
and former Apple Employee