Dean Neal
Forum Replies Created
-
Well Bill,
I will say in Australia there are echoes of what’s going on in the USA.
I saw the potential of FCPX at the start, but I agree within the broader community that its implementation within the FCP7 ecosystem at the time was far from perfect…
A lot of FCP 7 users here have moved to Premiere Pro. The first two years of ‘X’ did a lot of credibility damage here.
Some criticisms were fair, some maybe unfair.
That said, I have seen a steady increase of FCPX users for Television and high-end work here over the past two years.
The deceptively simple UI of ‘X’ hides a deep vertical interface and software paradigm. Lots of Disclosure triangles, Keyboard Shortcuts, options and settings at your disposal ;-).
There’s been some amazing content delivered using it in Australia for sure… but FCPX is seen as a distant third at best behind PPro and Avid MC in the TV broadcast space here.
I love the media handling of FCPX and multicam implementation particularly…
If people could just see the non-destructive, Databased way that FCPX stores media files and the flexibility of keywords, keyword collections in particular… it would gain a lot of momentum I believe.
Now…if we can just get a roles based mixer, and more UI layout flexibility and better handle waveform generation in relation to ‘growing’ EVS files – then I would be pretty happy in its entirety with it and I could probably lobby others to adopt it with more vim and vigour. 😉
Hopefully the next update of the software will further entice and excite people.
Dean Neal…
-
Two more good example of FCPX and popular plugins in use:
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
Late Model Tech Story from Dean Neal on Vimeo.
The above Late Model Tech Story piece we released on Social Media and had hundreds of thousands of views, as well as being aired on Television here.
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
Perth Drag Racing from Dean Neal on Vimeo.
Drag Racing promo edit above – which also included some sweet Phantom Flex 4k imagery!
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
We also produce a Long Form show from a horse eventing/showjumping event in Perth City here in Western Australia. This one is delivered on Channel 7 and rates very well – well over a million cumulative viewers. All edited on FCPX.
Dean Neal…
-
Thanks Bill!
I am Senior Producer for a number of sporting products including some show jumping events as well as starting to do some small VT packages as Producer here for Australia’s version of NASCAR – Supercars…
An example of one of our full Night Thunder shows is attached here. This show is quite popular, aired around Australia around Noon Saturdays on a free-to-air Network.
If you watch the show closely, a number of familiar FCPX plugins will become apparent – SliceX/TrackX, Ripple Callouts etc.
Click THIS LINK to view Night Thunder Episode.
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
Dean Neal…
-
I run a small Freelance Production House that delivers a variety of sporting content for National Broadcast.
FCPX has made that process quite sound – particularly since the software included MXF (Op1a) file export capabilities.
Most shoots we ISO record and then deliver, long form (Episodic content) on pretty quick turnaround.
Most shoots contain over 1000 media files in over 1TB of raw data per FCPX library, per shoot.
We use:
Sony FS5, Sony PDW700/800 XDCAM, Sony FS7, Sony FS700, Sony NX5, Go Pro & Replay XD cameras.We will Multicam various components up to a dozen angles and these shots are the only items we will transcode. Everything else – we edit Native footage.
Example here:
Night Thunder Promo EditDean Neal…
-
Why are you converting formats anyway?
I regularly edit Long Form Episodic TV episodes in FCPX with more than a 1000 clips from a variety of formats including XDCAM HD422, AVCHD, GoPro, XAVC HD (Sony F5 & FS7)… without needing to transcode?
Dean Neal…
-
Correct – I deal with Apple Store’s Business unit, they are great and often offer some discounts on purchasing through them. It makes sense to ‘face up’ their stock in shop for the average consumer – which gravitates to the i-Devices.
Dean Neal…
-
[Mike Warmels] “Tell me then how to make an MXF broadcast mate from FCPX?”
I have delivered personally over 30 Television shows here in Australia as XDCAM HD422 25i MXF Masters as digital files and/or on XDCAM Optical Disc.
Its never been easier with FCP X.
Some masters I have sent have required Multiple Audio Stems (M&E etc) and some just a straight stereo out.
This software is more than up to the task on a MXF Front.
You will need to use Compressor however if you need multi-track audio.
Dean Neal…
-
[Bill Davis] “The reason they have Storylines and call Projects Projects instead of calling timelines projects isn’t an accident, IMO. It’s a calculated decision to construct a new set of ideas and adapt the existing the language to reflect that. “
Bill is correct, IMHO.
Getting hung up on the nomenclature for the sake of comfort to me is missing the premise of X.
To suggest editors can’t collaborate because you refer to your edit as a ‘project’ instead of a sequence is just rubbish.
“Here is my project of string-outs for you to manipulate.”
“Project? Whats that?”
“Oh, sorry its a Sequence or Timeline.”
“Ok, thanks….”
End issue. For some in here that the naming of Projects is the end of meaningful collaborations in post production using FCPX is just… funny.
I used to chuckle in the days of FCP 7 etc. when editors I worked with would Name a BIN ‘ZEQUENCES’ in the list. Why do you ask? Because they wanted to find the Timeline Lists quickly and easily… and naming it with a ‘Z’ ensured it would always be at the bottom of the list in the Browser window. I know some renamed it ‘_Sequences’ etc.
So, here we are in FCPX 10.2 and the new in-build Smart Collections do that for you, by grouping projects for you.
With the Keyword control and Metadata foundations in the software, life has never been easier.
But as is usual in this forum, we tend to get hung up on things that simply don’t matter. Yet the big incremental workflow improvements are selectively ignored by some…
Final Cut X’s premise was to be a superior content management system in the digital age.
I agree, the editing elements were thin at the start but content management was always its strong suit. The other elements seem to be developing well.
Now we are seeing major Film releases that aren’t actually shot on film, the strong embrace of digital theories and nomenclature.
I am not saying the X is the golden goose, however in the words of H.G. Wells:
“Adapt or perish, now as ever, is nature’s inexorable imperative.”
Dean Neal…
-
I have been a COW Member since 2010.
Just because I haven’t posted lots, doesn’t mean I haven’t been on this forum’s journey since the start.
Some good points on the backdrop on the creation of this forum, fair call…
Dean Neal…
-
To be clear, I welcome any discussion in here regarding FCP X – good or bad… keep em cranking.
FCP X discussion or whatever sounds better.
Its just there is a now substantial collection of people that use FCP X in Television Broadcast and apparently film.
The title of the forum sets the tone in the first place and hence feeds the beast as it were in my opinion…
…and to be fair, then any other creative argument or debate should then have a forum assigned to it is my point.
In truth, my comment about Creative Cloud forums etc. is firmly tongue in cheek.
Yes Apple sucked in its original delivery of FCP X. Agreed. But its foothold is set. Its developed a fair way since them.
Lets move on.
To me, I see a few of the same sewing circle of thread posters here in terms of strident attackers of the software.
It gets a little stale nowadays.
I think we can all list the usual names that seem to thrive on lobbing grenades…and frankly its a pretty small list!
That’s fine… but I ask myself, why do they expend so much energy in doing it?
I would rather focus on what techniques or emergent theories or technologies relevant to this software are emerging – for good AND bad.
COW should be that to FCP X, as much to PPro, Avid, Edius, Resolve or anything else.
Bottom line is, rather than having guys like Aindreas coming in here in one of his famous drunk moments, rattling out on meaningless garbage for example (as fun his discussions often are), I would like to see this forum continue its spirited (even passionate or heated) debate on FCP X, but also to use this area as a discussion point to actually grow the product, its understanding and the knowledge base of those who use it.
When I see awesome threads like the one about the early days of NLE development on a MAC, inevitably be railroaded into yet another diatribe about how PPro is real deal and FCP X is crap or whatever…
What it will do, is inevitably see I believe – COW lurkers looking elsewhere for their FCP X learning.
Maybe thats the point I need to take…
Who knows… I thought I would at least ask the question!
Dean Neal…