[Franz Bieberkopf]

[Marcus Moore] “… the more tedious results from key framing.”

Marcus,

One way to think of the mixer is as a less-tedious way of keyframing.

Franz.

[Franz Bieberkopf]

[Charlie Austin] “In truth, I’d actually prefer an analog control surface if I’m using faders.”

Charlie,

… and Adobe and Avid have these options implemented right now. You can use a control surface, an iPad, or choose not to use the mixer at all and keyframe as much as you like.

Franz.

[Franz Bieberkopf]

[Charlie Austin] “I find it limiting that I have to open up some big old mixing pane to adjust my audio.”

Charlie,

Here’s my prediction: when the iPad integration comes for FCPX, everyone will be raving about how important touch and immediate feed-back are.

Franz.

[Franz Bieberkopf]

[Marcus Moore] “… I think people have an over inflated sense of the size of our industry.”

Marcus,

Agreed. And this concedes the point that FCP X competes for users in “our industry”.

Franz.

[Franz Bieberkopf]

[Charlie Austin] “Everyone’s needs in this regard are different.”

Charlie,

One way to assess a tool is how readily it adapts to different needs.

[Marcus Moore] “FCPX seems to me is putting more weight on the video side of that equation. It may not be a purely better audio solution, but a better video solution.”

Marcus,

I’m intrigued by this in that it at least admits of certain ideological underpinnings in the design decisions. But again, if what you say is true, then FCPX will appeal more to editors who “put more weight on the video side of that equation”. That’s one way to describe it as an NLE.

Franz.

[Franz Bieberkopf]

Oliver,

Thanks, that was not clear from the previous discussion.

Franz.

[Franz Bieberkopf]

[Marcus Moore] “I think the answer is pretty simple- Adobe is counting ALL Premier users, and not just those on CC. So that would include anyone using Premier from ANY Legacy CS package.”

Marcus,

It isn’t clear to me, but one way to interpret him would be all Premiere Pro users (discounting Premiere.) He also mentions 5 or 5.5 at the beginning of the interview, so maybe he uses that as the cut-off point.

Likely he’s using a broad, vague qualification that allows him the largest number.

On the other hand, Apple made no claims about users of 10.1 – by your logic, shouldn’t that be the cut-off for “current” users?

Edit: … and in any case, FCP 1-7 and FCP X are (uncontroversially, I think) considered different NLEs, not an extension or upgrade.

All the numbers should be taken as what they are – which isn’t much except maybe an upper limit. I agree we should question the claims and try to clarify, but that applies to Apple’s number as well.

Franz.

[Franz Bieberkopf]

[Marcus Moore] “Of course, we’re talking in the abstract here about an implementation that I’m only REALLY hoping Apple executes on.”

Marcus,

Yes, my point is that the details really matter here and if you’re throwing out an old paradigm you’re throwing out something that’s proven itself in many ways. It doesn’t mean something new can’t work, but I don’t think this is a simple problem, and so far Apple hasn’t hinted that it’s a problem they’re interested in with X.

[Marcus Moore] “I can’t imagine doing live mixing anymore ;)”

Judging by the comments here, I think this is a common sentiment. It’s interesting to see what new limitations people will accept with X and what they feel is important.

Franz.

[Franz Bieberkopf]

[Marcus Moore] “I think in exclusively audio oriented applications, you’re right.”

Marcus,

Here’s the revolution: Audio and Video in one application.

Franz.

Edit:

Okay, to be more useful, I think Avid is moving (in tiny steps) towards more integration between Pro Tools and Media Composer. The idea of two ways of accessing the same project is an interesting model. (And not one seen anywhere right now in the way I can imagine).

[Franz Bieberkopf]

Marcus,

I understand, I just think you dialog tracks are going to be constantly jumping around – will Jimmy DIA always “pop up” on the same fader? What about when you have 2 clips of Jimmy DIA at the same time?

I think what is lost is the direct relationship of what is on any given fader at any given time – if I have to constantly be looking and checking and flipping around faders then I’m not really mixing by touch in the same way that you can on a traditional mixer.

Franz.