I wasn’t able to read your emails Craig, but the wording was vague enough on the LAFCPUG site to make a few other websites curious about it as well.
Just to clarify what I meant by “they don’t edit how we edit”, I was talking about promo people in particular. We don’t do a ton of multi camera and with promos you’re constantly switching out sound bytes, adding transitions, revising, slipping vo around – it’s a 30 second catastrophe. Because nothing is locked in, the primary track has to be left alone. This eliminates some of the excellent trimming that can be done in primary. If we drop a transition on a clip, it makes a compound clip – then when we decide to extend the shot being transitioned we have to remove the transition, break apart the compound, extent, reapply transition, etc. We’re constantly adjusting our workflow to make these issues less annoying (like adding tranny’s at the end of the edit, etc).
I think for documentary, series, movie, and most other non-specific length editing FCPX is pretty awesome. With our specific work it just requires a few semi-clever workarounds. Let’s not fool ourselves that there weren’t hacks and workarounds with FCP7 though. When I cut home videos and stuff like that, the primary is fantastical. For us, for now, it’s at best only useful for slates in a long string out.
I think more than anything else, people who look at X now are mostly sad that in many ways we’ve gone backwards in time to around FCP4.5, when OMF’s didn’t work and FCP was good, but not great. XtoPro doesn’t work for us because it embeds the entire audio of a clip, not just the section you want with handles. Imagine a :20 spot going to mix with 7 hours of unneeded audio embedded in it. Yikes!
End of the day, we are using FCPX for broadcast spots on about 3 networks – right now. Going back to 7 for anything is no fun at all.
John Davidson | President / Creative Director | Magic Feather Inc.