[Douglas K. dempsey]

Thanks!

Doug D

[Douglas K. dempsey]

Link not working

Doug D

[Douglas K. dempsey]

IMO yes. I taught high school video class at a private school in CT for several years, and the school happily licensed multiple copies FCPX, kids took to it instantly as you would imagine.

But then headmaster heard from a parent “in the biz” that the pros use Premiere or Avid … and understandably, since they already had Creative Suite licenses on a bunch of Art Department and Library iMacs, decided I should offer PPro as well. I did that for awhile, then they decided one Fall they didn’t like their relationship with Apple Edu, and decided to “go professional” and teach Premiere only. This was right around time I was going to leave, and so when interviewing my replacement, they made that the requirement: must know Premiere Pro. And it’s been that way ever since.

Mind you, Art Department teachers don’t think that way. They pitch their classes for “enlightened amateurs,” not “professional artists prep” … and use old cameras, junky tech etc to teach “expression using the tools at hand.” It is only admin type folks who fall for the “pro” argument … which of course ends up weeding out kids who are not as software fluent. So they end up perpetuating a clumsy out-of-date interface IMO, but here we are.

Doug D

[Douglas K. dempsey]

To acknowledge Ronny’s comments, though … the New York scene I am referencing is largely a peripheral and/or wanna-be Hollywood / TV crowd … a group that used to be told, including by NYU film school et al, “The pros cut on Avid” – but as Ronny notes, Avid is largely being “aged out” in that group.

Doug D

[Douglas K. dempsey]

I have a 26-year old son in the biz … not an pro editor per se, but he grew up cutting his own films in FCP7, and when he got a few jobs out of college, was forced into PPro CC (which he set up with the old FCP7 shortcut commands ☺

He works with some young commercial shooters, a lot of indie filmmakers, and it’s all PP. I can’t recall a name, but there was some post-house guru in NYC who trashed X a few years back, and the indie crowd listened. And then, when the Coen Brothers who previously did their own editing on FCP7 (as the pseudonymous “Roderick Jaynes”), switched to PPro when FCP7 was EOL’d. From that moment on, PPro was cool, X was uncool.

Of interest, though … virtually EVERY one of these young filmmakers and editors is working on a MacBook Pro … the only Windows machines I see are in the hands of people working in gaming (Unity or Unreal), effects (After Effects and others) or coding work.

Doug D

[Douglas K. dempsey]

Working on doc project in New York; we’re hiring more young 30-something editors as it expands out to multiple “episodes” … virtually everyone of them using Premiere and AE, the whole CC in fact. Facilities, other pros we contact … all PPro CC. I’m a loner and looked at as eccentric, perhaps a notch shy of “pro” for using X. It’s almost a dirty word/joke among millennials IMO. Meanwhile I DO hear a lot of my generation, and some younger, trying out Resolve v15 and liking it.

Doug D

[Douglas K. dempsey]

Thanks, Jeff, that was my followup – any fav apps.

Doug D

[Douglas K. dempsey]

Hey Jeff, saw an old post about batch export, your method FCPX to fcpxml to Resolve, then batch export all clips from Resolve as individual .mp4 – are you still using this trick?

Doug D

[Douglas K. dempsey]

Agree, Greg. This is what I was trying to say in agreeing with Neil.

Doug D

[Douglas K. dempsey]

Agree about speed. First, speed is often just because you are used to something, you know the shortcuts, you’re comfortable. You don’t think two or three editors working on Avids to get “Gravity” finished in time are poking along because “Avid is slow.” They are flying and it’s not the software slowing them down, it’s the experimenting and doing complex things. Two, MANY people like to work in a deliberate manner. Think of a filmmaker like Woody Allen; he cranked out a movie every year, for about 30 years straight. He writes his scripts in longhand on a yellow pad. Because he’s thinking it up as he does it. Editing with string-outs and “selects” and alternate sequences … that is the kind of deliberate thinking that often goes into documentary editing. Sometimes, just fussing around with the material … moving it, removing it, renaming it, shuffling it … is how you get to really know the material. You cannot skip that step and push the “fast & good” button and magically the app adds in “reflection” with a dose of “good ideas” and applies a “brilliance” filter! DOING the work is HOW creativity works!

Doug D