[Gary Huff]

[Daniel Frome] “So, why am I posting this in a forum about editing? Because we’ve been discussing lots of “ditch the desktop” ideas and I’m one of those people that actually did it. And now here we are.”

I have a desktop Windows 7 PC that I built myself (and have continually updated over the years) and a 2011 MacBook Pro 17″. I love both and I don’t think I could ever go with just one setup because of this very issue. Anyone (not referring to you directly, Daniel, just FYI) who thinks that they can easily get by on one machine, especially because of the whole “Apple hardware is more reliable” myth is running a risk of being out a machine.

Even outside of failure, sometimes having a dekstop/laptop combination is nice simply because you don’t have to fret if one’s going to be down for a while doing a heavy render or something.

[Gary Huff]

[Joseph Owens] “They will soon learn that grading as it is currently practiced needs to be fully linked to the editor. The workflow just doesn’t exist anymore where grade occurs as the last step.”

Speed Grade was purchased from a third-party and brought into the Adobe fold. I’m sure that it will get advanced Dynamic Link options as they continue to integrate it into the collection.

[Gary Huff]

[Andy Field] “how does it compare to warp stabilizer — if you go to the link you’ll see tests they did on video using both – Lock and Load is very good”

That’s great, but have you ever seen a manufacturer’s provided video that didn’t show their product being better than the competition? I’d rather have someone’s own experience with both.

[Gary Huff]

[Mitch Ives] “CoreMelt has released Lock & Load for FCPX. If you aren’t familiar with it, it was the best stabilizer for FCP. I’ve been stabilizing footage in FCP7, before using it in FCPX. It’s that much better. Not to mention its ability to minimize the jello effect from a DSLR.”

Have you used Warp Stabilizer in After Effects? If so, how does it compare?

[Gary Huff]

[Mike Fernanandes] “I get it but also I’m not dismissing it. I was saying what works for me. I didn’t say forget protools and how dare you color correct anything.”

It doesn’t have to be that extreme. You said you don’t understand how that’s an issue. That’s as dismissive as you need to be.

[Gary Huff]

[Mike Fernanandes] “No i brought up the Emmy simply because I wanted anyone who read my page ( of which i really didn’t expect anyone too ) to know that I wasn’t some kid in high school with pimples on my face and my head in the clouds.”

I was mostly referring to the title of this thread. And I never thought you were simply pimply-face high school kid, but I do think you have your head in the clouds. A lot of it strikes me as trying to make it work simply because it’s Apple, and by golly I love that company!

If Adobe, AVID or, heaven forbid, Microsoft had released the exact same NLE, I think you would have dismissed it outright instead of plowing through to make it work because you needed to be able to make it work.

Could be wrong, but a lot of people who got upset at the discussion on Creative Cow over FCPX, seemed to carry that banner as their rallying cry.

[Gary Huff]

[Mike Fernanandes] “I’ve always felt it was a bit more work than stacking footage and razor it. Like running a switcher on a live shoot sometimes its not as accurate as I’d like it be. (i’ll blame that on reflexes being not up to snuff) and my train of thought is if i have to watch it live switch and then go back and re-tweek I haven’t really saved any time. Our show uses at time 3 – 4 cameras simultaneously if you were doing say a concert or sporting event SURE Multi-clip that up but I’ve just never really felt it was efficient.”

I ran a multi-cam edit in Premiere CS4 (not very well touted with it’s multi-cam abilities) and never had a problem. Don’t do them often, but it works well enough for my purposes.

[Gary Huff]

[Mike Fernanandes] “I don’t think the world revolves around my workflow. In fact I often tell people that work for me. “Most other people probably don’t do this” My point was more so that the tools inside the program are pretty sweet on there own. And you can now go x to protools so problems solved.”

I was referring to this statement:

Can’t send my mix to Protools or Color. – I don’t understand as I do my show mastering in FCP.

Why did you choose to phrase it that way instead of, “While I can see that that could be an issue for some, I master my shows within FCP, so it wasn’t a problem for me.” There is a lot of stuff people on here talk about that is never a part of my workflow, but I understand it. I don’t just simply dismiss it because it’s not my experience.

[Gary Huff]

[Herb Sevush] “As for “The Yeti” his first specific comments were about multicam editing and they were so ignorant and arrogant as to make one question his judgement about anything, including which way is up.”

I agree. Not only is this an appeal to authority argument (He won an Emmy, therefore FCPX is better because he likes it!) but his opinion is somewhat questionable given the kinds of statements in makes in the article.

And, BTW, winning an Emmy means $#!t-all in my book.

[Gary Huff]

Can’t send my mix to Protools or Color. – I don’t understand as I do my show mastering in FCP. Always have.

How can he work in broadcast and yet think the world revolves around his workflow? He doesn’t have to send to Pro Tools? Great! Awesome! But some people have to, and they have a legitimate complaint, dontcha think?