Chris Kenny
Forum Replies Created
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[Andrew Karczewski] “Haven’t purchased FCPX just yet. However for those who have and have tried some color grading, does it allow you to playback the color graded project – with audio and vision at the same time??”
Color grading takes place in the same sequence used for everything else (it’s just another filter, basically), so yes.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Dylan Evans] “. But why release a half-baked product? Apple may know its not for the pros yet, but if they know this why release it, its called Final Cut ‘Pro’ after all.”
Because there are a lot of people it’s useful to today. A friend of mine who’s been holding off on buying or seriously learning FCP (he knows a bit) called me up yesterday to ask if he should buy the new release. He’s got a DSLR and is interested in editing the video from that. He doesn’t produce HDCAM deliverables. He doesn’t need to output to a broadcast monitor. He’s not using an offline/online workflow with FCP and Resolve or whatever. I was about to launch into the whole “Well, it looks promising, but here’s the big stuff that’s missing in the 1.0 release… when I realized none of that stuff mattered a damn to his use case. FCP X, today, is much better for him than any previous version of FCP. And there are more of him than there are of us.
Apple will add more of the workflow features that we need; we have indications of this from folks who are more in the loop with Apple, and from technical examination of FCP X itself. But there’s significant value in not allowing those things to delay the entire product.
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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] “What about using FCPX as the File importer? Especially from DSLR or other media, often times it needs the most work color matching, then you could output color corrected ProRes for editing in FCP7.”
As with Final Cut 7, there is at present no particularly sensible way to automate exporting a bunch of clips in the timeline as separate media files.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Jonathan White] “Is it true that clips must be in a storyline before I can apply a dissolve or other transition? I find it won’t work unless I press apple-G to make selected clips in a storyline? (for example if I want to fade in a pic in pic)….
Lots to learn :-)”Yes, this is the case. This makes sense when you understand that the things that look like tracks in FCP X aren’t really tracks. Those clips on “track 2” are actually just clips connected to the media in your primary storyline), and each one is connected independently at a specific point (indicated by that little line that connects it to “track 1”. Operations on the underlying media can thus cause them to change position relative to each other.
To see how this works, take a single long clip, and drop two short over it. Now, shorten the long clip so it ends at a point before when the second of the short clips is connected to it. You’ll see the Magnetic Timeline moves that second short clip up to “track 3”, so that it maintains its sync relationship (as much as possible) with the clip on the primary storyline, but doesn’t bump into the other connected clip. Clearly if there were a transition between the two connected clips, that wouldn’t work.
Now, drag the underlying clip back to its original length, and group the two connected clips into their own Storyline. You’ll notice that now that whole storyline only has one point of connection to the underlying clips. This means the clips contained it do have a fixed relationship to each other, so it makes sense to add transitions.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Jason Brown] “The only difference I see is that you HAVE to have EVERY edit you’ve ever done on EVERY project you’ve ever done open at the same time. This seems like a bad idea… 🙂
Thoughts?”
FCP X is basically just providing a more specialized tool than the Finder for managing project and media files. The fact that it presents a hierarchical list of all your projects all the time is no worse of an idea than the Finder providing a hierarchical list of every file on every mounted volume all the time. Which of course is the entire purpose of the Finder.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Jamie Franklin] “When I read users are encountering destructive source processes, no warnings or roadmaps to discontinued features et al, I’m not reading that as unjustifiable “internet panic”.”
Bugs impacting source media are just that — bugs. They’ll be fixed shortly, and don’t really have long-term significance. Roadmaps are something Apple, in general, just doesn’t do. They’ve basically told Philip Hodgetts they’re working ‘ecosystem’ problem, but that’s already much more openness than we usually see out of Apple, and I suspect it’s all we’re going to get.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[Jim Giberti] “They have social media output because it’s kind of a big thing in the world now.”
Yeah, I love the idea that this is a feature that somehow has no place in a pro app. We primarily do post work on feature films, and guess what? We do Vimeo outputs far more often than, say, DPX outputs. Outputting to DPX happens once, at the end (maybe earlier for short clips going to VFX guys). Stuff gets tossed on Vimeo (with a password, naturally) on a daily basis for review by clients.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[eric pautsch] “I’ll pay 10x that amount to get the old FCP brought back with all the upgrades that we’ve been asking for.”
It was technically impossible to bring the features people wanted to the old Carbon/QuickTime codebase.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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In my opinion, the absence of any mechanism for third-party software to interface with FCP X is so conspicuous, that it can almost only be explained by the theory that Apple is working on something that isn’t done yet, maybe this.
I mean, even iMovie has a (limited) XML export command. It just seems very unlikely that Apple could actually believe it was sensible for FCP X to have nothing. And Apple flat out told Philip Hodgetts they were working on the ‘ecosystem’ issue:
However, during my direct briefing, the Apple folk made it abundantly clear that the ecosystem was very important to them, and that there will be a new, and much improved, replacement for the current XML workflow. That’s entirely consistent with what I’d heard pre-release that there would be a new form of XML and that it would be accessed by some sort of SDK (Software Developer Kit).
The primary focus for this release was for Apple to get its ducks in a row with respect to the big technical issues, specifically so they would have something to build on for the future, because the old Carbon/QuickTime codebase was never going to carry them through the next decade. As such, it’s kind of silly how many people are acting as if this is the end of the road. It’s the beginning. It’s like the first release of OS X, which also caused a bunch of Internet panic.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.
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[george manzanilla] “Can i drag a folder of images into my events? or stock footage from another drive?”
Yes.
[george manzanilla] “it just seems that what used to take 1 single step now takes a ton more time!”
Not as far as I can see. And organization in general should be much faster. There’s well thought out tagging, you can search for clips within events, etc.
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Digital Workflow/Colorist, Nice Dissolve.You should follow me on Twitter here. Or read our blog.