Chris Kenny
Forum Replies Created
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[Steve Connor] “They will”
(I’m not sure if that page loads unless you’re logged into a YouTube account with its own channel. Basically, YouTube offers a web-based video editing interface.)
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Richard Cardonna] “I dont agree. apple has litigated things we would consider banal. if i was adobe i would try to get that video blocked and launch cs7 a.s.a.p.”
Apple litigated silly things like rounded corners because they were annoyed that Samsung basically lifted their entire concept of what a modern smartphone should be, but you can’t actually protect a ‘concept of what a modern smartphone should be’ with patents. So you go digging around in your patent portfolio for anything that you think might stick, and you go to war with that.
Apple isn’t going to become annoyed with Adobe for lifting Apple’s concept of what a modern NLE should be, because a) legacy FCP wasn’t, in general, doing anything groundbreaking in terms of user interface, etc. in the NLE market and b) Apple doesn’t even think legacy if FCP is what a modern NLE should look like anymore.
Additionally, Apple is unlikely to start a patent fight with another major software company. There would inevitably be a countersuit, and Adobe has a much deeper software patent portfolio than Samsung did. It would get very messy.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Walter Soyka] “Should I start assuming that BMD will add a compositor in v11 next year?”
It wouldn’t be that crazy. They’ve already laid the groundwork in the node graph with alpha outputs and multiple image inputs. The node-based PTZR in 10 also seems relevant.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Walter Soyka] “Do most of your edits come in from FCP, or do you see a lot of MC/Pr work as well?”
It’s about 50/50 MC and FCP 7. We’ve gotten a couple of inquires about FCP X for narrative stuff, and a couple of music videos have come through that were edited in Premiere.
[Walter Soyka] “I do like Resolve — I bought in the day it was released for Mac — but isn’t Resolve now suffering (perhaps to a lesser degree) the same perceptual issues that FCPX suffers?”
Not around here. I know of a couple of name-brand colorists who have left major facilities to start their own operations, who swear by Resolve. I also know that several major facilities have Resolve suites (though they often also have other systems as well). I think Resolve’s history in the industry and the fact that it’s still possible to build a pretty expensive Resolve system (between its multi-GPU support and the existence of those $30K panels) prevent perception problems that might otherwise exist as a consequence of the low base price.
Blackmagic’s extremely aggressive pace of development helps as well. It forestalls arguments along the lines of “Resolve isn’t a serious app because it doesn’t have feature X”, because with a high probability the next release is going to have feature X. Heh.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Walter Soyka] “Media Composer has Symphony. Premiere Pro has SpeedGrade. Smoke has Lustre. FCPX has a workflow hole. Why wouldn’t you develop for it?”
At least in the indie feature world, I’m not seeing Symphony or SpeedGrade used that often as alternatives to Resolve. I’m not sure they’re enough of a force that it would make sense for Blackmagic to particularly target FCP X merely because it doesn’t have a first-party equivalent of those products.
[Walter Soyka] “What is the “Internet narrative” about FCPX? Seems to me that it was a product with a botched launch that has been steadily adding features and addressing objections.”
Your summary of the history of FCP X to date is fair, but I think the “standard Internet narrative” often also attaches something like “But pretty much nobody uses FCP X for anything serious”. Given that Resolve is pretty damn serious software, the interest Blackmagic is showing in FCP X suggests they believe otherwise.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Jari Innanen] “Interesting enough the only NLE pictured in their 2013 printed catalog is FCP X.”
Resolve 10 seems to be somewhat influenced by FCP X with respect to UI (the new filmstrip view, the general appearance of the timeline) and certain features — compound clips, and… does ‘multiple take selection’ mean something like auditions? I’m not sure.
FCP X also gets top billing on Resolve 10’s workflow page.
I wonder if Blackmagic — and all the plugin and workflow tool developers who also seem pretty enthusiastic about FCP X — are seeing something happening in the market that isn’t being reflected in the Internet narrative about FCP X just yet.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[gary adcock] “Most Video editing app’s only natively support the SMPTE output specs and frame rasters.”
Arguably FCP should also add 2048×858 and 1998×1080, the DCI specifications for scope and 1.85, respectively. I guess the thinking, though, is increasingly that one will simply work at the native resolution of the camera footage, and worry about frame dimensions only when outputting. This is nice in theory, but I’m not sure it’s completely practical yet in every case.
Either way, it would be nice if FCP added some sort of sequence-wide custom blanking feature like, say, Resolve, so you could work letterboxed without having to worry about image ever appearing outside of where it should if you scale or reposition shots or mix in material in other aspect ratios.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Ned Miller] “Next question: I’ve been editing onto the internal fusion drive but a very high end editor I know says it will be faster if I edit to an external Thunderbolt hard drive.”
A single drive external Thunderbolt enclosure? That probably won’t be faster. A multi-drive Thunderbolt RAID drive might be. It depends — the SSD component of the Fusion drive is very fast, but if you have a lot of media most of it will inevitably be on the hard drive component. What formats are you working with? With more compressed formats, you’re not going to really see faster exports with faster storage anyway, since the bottleneck with be processing, not reading/writing footage.
[Ned Miller] “So, since Apple has provided us with only 2 ports, how do I use a Thunderbolt drive, an additional Cinema Display monitor plus have USB and FW800 hubs?”
As with FireWire, many (not all) Thunderbolt devices have a second Thunderbolt port for daisy chaining.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Marcus Moore] “That said, under the current appStore rules there’s only 2 options for a “10.1”.
1. another free update to exiting users (basically the status quo)
2. Released as a new app at the full price. 10.0.X disappears as a purchase option for new users. But remains for existing users who don’t upgrade as a path to updates or reinstalling the software down the road.
I think we’ll have a clearer picture about the update based on what gets revealed at the NAB press event.”
There is a third possibility, depending on how you count. They could keep offering free upgrades to the core product, but also start offering in-app purchases for new functionality. They could have a “Pro Workflow Pack” that enabled EDL and OMF exporting, etc. That would actually be a really interesting pricing model for an NLE — make it cheap for people to get in the door with the basic version, but allow instant in-place upgrading for users who need more advanced features.
And of course, there’s a fourth possibility as well. Since Apple controls the App Store, they can change the way it works anytime they want to. If they really want to offer upgrade pricing, they can do it.
Lots of possibilities here. Personally, though, I think they’ll keep giving updates away totally free at least until some point after the general narrative on FCP X shifts to a more positive tone. We can be quite certain that if Apple shipped a paid update right now with, say, EDL exporting, the response would largely be “How dare they charge for this! It should have been there already!” (Almost regardless of what other features the update offered.)
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Nate Weaver] “I have a gift certificate for anybody who can figure out a way to enable this for Sony S-Log2 footage.”
Someone really just needs to make a plug-in that allows arbitrary LUTs in common formats (.cube, etc.) to be applied to clips. Or, better yet, this should just be built-in. I’m a little baffled that none of the major NLEs supports this yet. Why should everything have to be special-cased?
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.