[Derek Andonian]

Out of curiosity, what IS an “audio stem”?

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

Wait- Resolve now supports FCPXML? Even the FREE version?? Those funny cat videos on Vimeo are going to look AMAZING!!!!

(sorry, couldn’t resist that one…)

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

If it is, as they claim, “as simple as that”, why couldn’t Apple do it?

I’m beginning to think there’s a reason Apple doesn’t want FCP7 projects going to X, which hasn’t been talked about yet…

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

You don’t need to hold down alt. Ctrl by itself will do this.

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

Well, we know high-quality color correction is on the way, so there’s one gaping hole filled.

The way I see it, if Adobe adds THESE THREE features along with better multi-cam, something along the lines of PluralEyes, and the color-coded markers and sequences from FCP7, they’ll have a winner…

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Jamie Franklin] Que banjos

LOL

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Andrew Richards] “If they deliver on their promise for the next version, they will have achieved critical feature parity with FCP7”

That’s not true. FCP7 could open projects from previous versions.

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

FCPX uses a new flavor of XML. It isn’t the same version that FCP7 used. Blackmagic will have to add support for this new XML to DaVinci before projects from FCPX can be imported.

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

[Craig Seeman] “I do thin Apple is racing against a ‘market clock.'”

I do too. The way I see it, Apple has until NAB to convince everyone that FCPX is a viable pro editing solution. After that, it will likely become very hard to win people back.

Media Composer 6 will be out by then, and will be very compelling because of the jump to 64 bit and expanded hardware support. And NAB will see the release of Premiere Pro CS6, which I think could be the final nail in the FCP coffin. CS5 still falls short of FCP7 in many key areas, but Adobe has been getting lots of good feedback and feature requests from the FCP refugees- many of which jumped over to it immediately without paying a cent, since they already had it as part of their Photoshop/After Effects bundle purchase.

As evidenced by the Iridas acquisition, Adobe is listening to them, and CS6 will no doubt clear away a lot of the roadblocks that are keeping many people from making the jump to Premiere.

If PPro CS6 is seen by a lot of people as a major upgrade compared to FCP7, Apple will have a hard time convincing people to wait for FCPX to mature- especially if the XML issue hasn’t been sorted out yet…

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Derek Andonian]

Hi Jim,

You should also post this question in the Premiere Pro forum, as over there you can get advice from other FCP editors who now use PPro and have experience with both Motion and AE…

As for complexity in learning AE, I haven’t done much complex stuff like motion tracking, color grading, and chroma keying, but I can say that as far as the basic interface goes, using Premiere Pro will give you a good head start on figuring out AE- since many things in PPro are descended from it. The transform controls, for example, are the same in both programs except in PPro there’s no 2.5d mode.

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”