[John Berpskin]

I, for one, have no problem downloading plug ins from the app store. The app store is very competitive price wise which is fine with me. And I agree with the idea of only buying what I need without having to keep track of disks and serial numbers. works for me.

[John Berpskin]

I can honestly say that after a week of using it I am starting to enjoy some of the features on it (background rendering/transcoding – meta tags/THE SPEED/etc) I think Apple has a long way to go with options but I see several spaces on the tool bar! And it’s true that when i got back to FCP it feels slow and archaic. Don’t know why…just does.

And for some reason the interface reminds me more of Sony Xpri than Imovie.

[John Berpskin]

I honestly think there are way too many factors out there that have yet to be entered into the equation before anyone can make an educated guess as to where this new version of FCP will go. with Lion and thunderbolt coming out, I see Apple looking to the future of editing instead of merely going with the status quo. Is it a big step? yes. was the launch botched? yes. Does that mean it’s a product that has no future – NO! Unless you have a crystal ball, you are merely speculating.

All this speculation on never being accepted/toy/prosumer….I’ve heard it all before when the original FCP was launched. Also heard it when Premiere was launched.

Bottom line…you just can’t tell.

[John Berpskin]

I, personally, wouldn’t get so hung up on the system. Quality of work can outshine whatever system you work on. So in other words, learn to tell your story visually though what ever means necessary. While I have seen editors proficient on several systems, it’s the ones who really know how to tell a story that capture my attention. I’ve see the highest end Avid editor turn out mediocre work and a low end imovie student do something inspiring. You can always learn a different platform… but TRUE storytellers know how to tell the story first.

[John Berpskin]

I understand your concerns glen. Really I do. If I were to have a tin invested in owning a bunch of FCP 7 systems I would be concerned as well. However, I disagree with you saying that the current version released is the final solution. I just don’t think a weeks worth of review on the product can in any way dictate where the product is going. In working with it, I understand some of the limitations that are concerns for the pro editor but I also see some fantastic new builds that are nothing short of amazing – specifically speed, the ability to scrub clips rather quickly, background rendering, meta tag search-ability. In short, I believe they paid attention to the basics of the engine first and now will start adding all of the “options”. And I would be surprised if some of these new advances didn’t make it into the other NLE products in some form in future releases. I just plan to take a “wait and see” attitude – not wanting to jump ship after a week.

But in response to the bird comment – it was a bad attempt at a little humor for levity (which should have carried a 🙂 in hind site) In no way do I see myself as superior in any way to any one. I just have an opinion, same as everyone else here, and the platform (this forum) to express it.

But hey, in the end I hope you find a solution. If it’s Avid MC 5 you lean towards, feel free to ask questions as I have on in the other room. After all, just because we have a different perception of software doesn’t mean we can’t still be civil in other areas of post production.

[John Berpskin]

“I’m glad you like the new speed, but don’t you DARE tell me that Apple’s actions as enumerated above are either 1) the way a truly reputable company treats its customers or 2) is the way it’s always been. “

Actually, they made a very similar move from os9 to osX and people cried foul then too bit it seemed to work out.

[John Berpskin]

“So you basically don’t have any problem with the manufacturer of a massively popular program, a program that people make their livings with, suddenly and without an hours warning EOL’ing the program and stopping all support? This seems like reasonable behavior to you? If so than I’m glad I don’t have to do business with you.”

Unless someone from Apple broke into your edit room and wiped FCP 7 from your Hard Drive, I would assume it is still operating the same as it did a week ago. But please, feel free to convince me otherwise because mine is still working fine.

And as someone who was there when FCP was first introduced and was trying to get other pros to take a look at it and see the possibilities, I feel deja vu all over again. Same thing happened with Sony Expree and know of more than one individual that rode that one out without any support for a few years.

But no need to get personal just cause I have a different outlook than you. I just have seen the shift in Production/Post production over the years and, while this may seem a radical step, it fits within the theme.

[John Berpskin]

Reaaallly Glen. Thanks for your response. Let’s address some of your points directly.

“If editors fear change, then how ironic they choose a profession where every day, the goal is to communicate an idea in a brand new way.”

That’s a difference between personal preference and client expectations. One is done for the purpose of another while one is for personal use. either way, since I entered the field in ’92, I have encountered, read and experienced one reoccurring theme – when change is presented in this profession, there are those that challenge and dismiss said change without fully looking into the possibilities. Period. Seeing this forum THE DAY of the release illustrated that point. Without the first update or press release from Apple, there were those that were already writing off Apples commitment to professionals with unsubstantiated claims. Xenophobic may have been too strong of a word but I think you understand what I am getting at: people made up their minds without having all the facts.

“When Final Cut was introduced at version 1, it offered frame accurate digitizing and lay-off to tape for a fraction of what an Avid cost. Yes, with a $250 converter and an asb to serial cable, I could even get it to digitize from my BetaSP, and view footage over a scope! So, inferior or not, there was a benefit that was unmistakeable. And many of the “fear-laden editors” jumped for it. How else did it get to be such a success? You could do broadcast work with it and it had potential!”
FCP became a success OVER TIME with updates. Period. The broadcast world did not embrace it from it’s release. I know. I was there trying to convince people to give it a try but was met with the “it’s not Avid” mentality. Adobe Premiere could digitize too and also got the same response. So no – both were not immediately embraced by professionals until several upgrades/revisions later. Quite the contrary, they were looked at as Prosumer at best. I encountered both being labeled as “for amateurs” with premiere having the moiker as only suitable “for web use.” Sound familiar?

“Also, why has it taken so long for Premiere to gain traction? Because those same editors, who I would characterize as forward-thinking technophiles also have standards that must be met in order to survive. So they don’t just jump for anything. It does have to have its merits in the broadcast world.”
Right! They accepted the programs once updates and development met their needs. So, by your own admission, these editors didn’t jump on the bandwagon on either FCP or Premiere upon release but felt more comfortable doing so once it met their needs. We’re a week into FCP X release and already there are those jumping ship because of unconfirmed speculation about what Apple may or may not do. Now, knowing that the programs (Priemere and FCP) became accepted over time, and that FCP X is being dismissed within a week…yeah, I would say that mentality is somewhat Xenophobic ESPECIALLY if you knew where here watching history quite possibly repeat itself.

“Maybe you’re confused by the use of the word “professional.” You do understand, most people don’t organize their businesses around the dictionary. We don’t care what “professional” means in a white room with pointy-headed faculty room types sitting around discussing their next thesis. What we mean, in a street sense, by professional, is that arena that generates the most money and offers the greatest opportunity for the greatest number of people. And like it or not, that arena is broadcast. It’s where reputations are made, it’s where the most clients with money reside, and it usually aways requires a somewhat seasoned skill-set to maintain a connection with that brand of production.
So if “professional” is a stumbling block for you, then swap it out for “broadcast” and maybe you’ll begin to understand the source of frustration (not fear – omg).”

No – that definition is actually the accepted meaning of professional in the English dictionary like it or not. But, if you feel the need to tweak the definition to suit your needs, fine. Have at it. But by that rational, you’ve also given free license for anyone to call themselves professional by their own interpretation of the word. And seeing as I am working within the broadcast field, I realize the limitations and shrinking influence. Large scale post production is in the top 10 dying industries, again, like it or not. There are far more outlets for creative, visual expression than just broadcast. It isn’t 1970 anymore. You best realize that now because there are a bunch of young kids exiting school right now armed with DSLR cameras and lap tops that are going to be the next generation of story tellers and it will primarily be through internet/phone.ipad and on demand. Broadcast is in it’s decay.

So, until this tool, that cannot meet mission-critical requirements for any form of broadcast, gets its act together, it cannot be touted as a successor to a previous version.

Knowing that it never was to be a successor, but a completely new rewrite, there is no previous version. This is a new product with an old name. And as for being accepted by the broadcast community, I never would have expected version 1.0 to be accepted. Quite the contrary, given the track record from the past, it will be made fun of and put down until a few revisions. Then it will be looked at again and, most likely, hailed. Again, history repeating itself.

“And since it’s introduction spells the end of FCP7 – in sales and support, many of us are faced with having to get a new understanding of how our future hardware and software purchases will fit.”

If the release of this product made you feel the need to run out and reevaluate your edit system, sorry! The FCP 7 on my harddrive still works fine and will get me through the end of the year while keeping options open. That’s why I think there are new things on the horizon – FCP was left in tact almost as if saying “try FCP X but it isn’t done yet.”

“Your use of the word fear is so degrading, reducing us to mere animals reacting to primal instincts. “

And rightfully so in some cases. Go ahead and look through some of the threads and subject headings – wild, unfounded speculation that all boils down to some form of fear with talk of fleeing to another system. Is that not a reaction?

“The funny thing is that in studying animals of varying intelligence, we find the dumbest ones are the ones that walk up to a cliff, watch the pebbles falling off, and then fearlessly walk off.”

What if you’re a bird?

[John Berpskin]

Well said and spot on.

[John Berpskin]

Many are reporting (this is unsubstantiated) that Apple has been trying to get those copies back from the resellers. Even if that’s not the case the number of available new licenses is very limited.

You’ve left facilities and editors with no way to plan for expansion until the delivery of theoretical upgrades – and the content and timeline of these upgrades have not been officially promised by Apple, they are merely the deluded wishes of the very hopeful.

The Pro aps installer for FCP7 no longer exists. so even if you buy a new copy you get 7.0 not 7.0.3 – which is a huge difference in functionality. You remember what an actual upgrade IS don’t you – it’s the incremental improvement of a program, responding to user feedback. And what about re-installs – what if your hard drive fails and you have to re-install form your discs – back to7.0 you go.

Facilities and Editors with FCP 7 still have a working program with all the features in tact the same as they were prior to Monday. Nothing has changed except the fact that it is no longer being sold. So if you have the program, use it. If you don’t, take your chances purchasing it the same as you would any other program that has been discontinued. So in essance, if you purchased it after the fact, you screwed yourself.

As far as upgrade, never once did I see this being toted as am upgrade. Maybe I missed that release (very well possible – I am not human) but everything I have seen pointed to them saying this was a completely new program from the ground up – a rewrite. That’s what I have always taken it to be.

I was talking about their gain from feature films and network TV shows watched on iphones and pads, not social media. And in that venue, which is the venue of the people that are complaining on this forum, they obviously don’t gain enough for them to continue producing the tools needed to do the job. If they cared about this audience we wouldn’t be having this exchange.

Don’t completely understand your response. My point, however, was that as visual media outlets grow (from tv to on demand to faster theatrical releases to iphone/ipad releases/net flicks/youtube rentals) so will demand. Never before has visual media been so accessible on multiple platforms. If there is such a need for visual content, they certainly have much to gain by being accessible. As for the theatrical and broadcast level, that’s a thin line being stretched thinner as kids today emerge from school with a DSLR, an editing program and innovation. You can try and stop it but it’s coming.

I fully understand why Apple is catering to this audience. My whole point is that Apple has made a reasonable business decision to go after this audience, which is much larger than the high-end pro audience, because it will make them more money. They obviously thought FCP was too complex for their new target audience. What’s shameful is using the Final Cut name in a deceitful way to brand this new program and the EOL of FCP7 with no warning whatsoever to the editing community that had been supporting them for all these years. We helped make that name mean something, now they take the name and burn all their bridges. If you don’t have a problem with that, well your a different sort of person then I am.

With all due respect, we must be. FCP, in any form, is just a tool I use. I’ve used others before and will most likely us others after. I don’t need a program to have the word “pro” in it to differentiate myself from prosumers and amateurs any more than a writer or artist would need a different word processing program or brushes and paints to differentiate myself. Stunning visual concepts have been produced before FCP with all it’s bells and whistles…long before. And they still will be as long as an artist has the desire to create.