[Geoff Dills]

I wish I had been more clear that when I put ” around “pros”, I was specifically referring to people on this forum that always chime in on any discussion on the merits or lack thereof with FCPX with, “See!!! It’s Crap.”

I was NOT referring to all professionals. Obviously a real pro examines the software carefully first. Discovers if it can fit his needs. If it does, great. If not, move on. I thought that’s who we’re dealing with. Except one pro decided to take offense and I apologize. But David, the blatant attack on me was over the top. Rein it in a bit.

Best,
Geoff

[Geoff Dills]

My experience gives me a VERY good point of view.

I’ve watched as tape formats came and went, edit systems came and went and seen this industry change. I’m not knocking anyone for feeling bad about what’s happened, I’m knocking their response.

When we went from 3/4 inch tape to betacam no one cried, “How do I play my old tapes on this new machine?” because it would be stupid.

So when I see everyone whining about how you can’t open legacy FCP7 projects in FCPX I am reminded of that. To me the solution is so simple: keep a machine with a partition with FCP7 around as long as you have legacy projects you need to work with. How hard would that be? Did Apple promise you that you would ALWAYS be able to open up a project in ANY future version of FCP? No. It’s akin to folks getting their knickers in a twist when old software won’t work with new operating systems. When you buy something, all you SHOULD expect is that it does what it does TODAY and continues to do that. Anything else is gravy in my book.

The other argument that gets me annoyed is the “until it has proper video out it’s not pro.” I was under the assumption MOST pros would use external software to color grade. So the “pros” are doing their own color grading inside FCP? Oh, it must be the “lesser pros” who do that. See where this leads when you try to define “pro”?

There is a growing number of people who “get” FCPX and are finding all the ways to get the job done using it. I do feel for all those who think they’ve been screwed, but like the Eagles’ song says, “Get Over It”.

Best,
Geoff

[Geoff Dills]

Classy reply David. The quotes were there to differentiate between people I consider real pros and the whining I see from alleged pros about this software.

Google me if you doubt my cred.

I have found your discussions so far to be rude, uninformative and not helpful in any way. All you want to do is dismiss any opinion which differs from yours and ridicule anyone who voices it. This will be my last response to any post by you.

Best,
Geoff

[Geoff Dills]

[Gary Huff] “Well, Geoff, your sense is dead wrong.”

How would you explain it?

Best,
Geoff

[Geoff Dills]

[Mark Dobson] “i’m sure if you were there sitting next to Steve you would have pointed out his error and everything would have gone more smoothly.”

I think what was surprising was that out of a room full of knowledgeable people, not one person noticed. And don’t get me wrong, I thought he presented some good information. And I am a fan of X. And it was an easy, honest mistake. Just funny was all.

Best,
Geoff

[Geoff Dills]

[Greg Burke] “Apple is Focusing on Software and Hardware that is targeted to the average Consumer, and thats fine, disappointing, but fine.”

I agree they’ve widened the target for this editing software, making it easy for a novice to pick it up and use it quickly and successfully. But to ignore its pro features make your arguments about it weak. If I were in the software production business, I would certainly be looking towards making software more inclusive of potential customers rather than exclusive.

My sense is the “pros” saw their skillset value suddenly plummet in the market place (though I suspect that’s only in their own heads…the ability to use tools to tell stories will always be marketable) and have continually found any way they can to denigrate this software as “crap”. And since Apple released this without any “Look guys, we know it’s not complete, we know you’re going to have to spend some more money for the extra features the pros will need so we priced it appropriately, and here’s our vision on how to use this new software and its roadmap” they just released it. They blew it. But that doesn’t change the ability of the software. And at this point in time for me, it does more things better than FCP7 for me to stick with it.

Best,
Geoff

[Geoff Dills]

[Oliver Peters] ”
I’m trying to avoid another “FCPX versus” discussion here 😉 since the thread really started with Lightworks and open source. It would have been interesting to see where FCP COULD have been taken – not where it WAS.”

Agreed. Funny there’s more posts in this thread about Lightworks than the entire forum the Cow dedicated to it. But little talk about Lightworks. I looked at it and thought it had promise. The controller looks like a fantastic way to work with footage. And its strength is its ability to be customized to the editors delight.

But I made a decision when I switched to FCP to pick one editor and stick with it so I’m trying to continue that approach with X and find out what will make it work, not that it is necessarily a better way in all regards. As to adjusting two audio tracks, the only way I’ve found is to open in timeline and do it there.

Best,
Geoff

[Geoff Dills]

If I’m in list view in the event library and I’m viewing a clip from a keyword collection and I want to see the original clip, all I have to do is click on the Event it’s attached to and it instantly pops up the clip it came from, twirls open the clip to see all the keywords an highlights the keyword I was looking at originally. Why is that so hard?

Best,
Geoff

[Geoff Dills]

Funny thing, he tries to show how to reconnect media, but when he copies the project file to the other drive, watch how he puts it in the event folder instead of the project folder and then assumes FCPX is messing up again. He never does realize what he’s done and ends up doing it over again. Not sure which clip it happens in.

Best,
Geoff

[Geoff Dills]

[Oliver Peters] “The real impediments to me are the supposed strengths FCPX – namely how you edit in the timeline”

Oliver, have you watched the Balis Moviola video on the timeline? Really explained the way it works better than anyone else has been able to explain it that I’ve seen.

Best,
Geoff