[Kris Trexler]

Wow, you had to go to FCP 7 to do what SHOULD have been the simplest of tasks. What does that say about this beta?

[Kris Trexler]

I hear what you’re saying but I disagree, at least as it applies to me. I’m not a young guy anymore. To give you an example of how old I am, I edited a season of “All in the Family” in the 1970’s and edited music videos with Michael Jackson when he was at his peak in the 80’s. I’m still in demand and enjoying my career as an editor.

I once had concerns that younger editors would put an early end to my career. And a tool like FCX (not sure if I hate it or love it yet) can make it easier for newbies to get into editing. But I have no fear anymore. An old pro like me who can deliver network programs to very high standards, is reliable and delivers on schedule, is self-motivated to do work at levels that please himself while his employers benefit from his quality work has no reason to fear newcomers. Maintain high standards and you have nothing to fear either. Don’t drop the ball, don’t fall behind technology, have the attitude that there is no problem that can’t be solved and you will be in demand.

I intend to master FCX just so I can see what it’s about. Whether or not I ever use it professionally is another matter. Avid Media Composer is my tool of choice and will probably continue to be. But I embrace the new. “Get on the train or you will be left at the station.”

From an old pro to the rest of you … enjoy the ride and don’t be afraid of the new.

Kris

[Kris Trexler]

I’m a long time Avid editor in Hollywood. I edit mostly scripted multi-camera network TV shows, and Media Composer has been a wonderful, reliable, stable tool that’s made it possible for my work to be honored with two Emmy awards and five nominations. I don’t say this to brag, my intent is to inform you that without Media Composer, I would not be able to do the quality of work that I do. Without proper tools, my work would be awful.

Because I work almost exclusively on scripted projects, Avid’s exclusive script-based editing feature offers something no other editing software can match. Imagine 7 or 8 takes of a scene…in a flash, you can click on a line of dialog in the Avid script and quickly compare coverage and the subtleties of actor’s performances. I was one of the first editors in Hollywood to embrace Avid’s script-based editing, and now it’s become almost mandatory to use it on scripted projects here. It helps me make superior “editor’s cuts” and the directors and producers who ask me to show them alternate takes love the feature. FCP X has an “auditions” feature that comes close, but it’s nowhere near as fast and easy to use. When you’re referencing the script supervisor’s printed script to the Avid script, it’s just FAST and allows the editor to maximize their creative skills.

I routinely export AAF files (formerly OMF) for ProTools, and send an Avid bin with my finished offline sequence to a post house for final conforming of the HD master from XDCAM sources. We use Avid’s DNxHD36 codec for very high quality offline with small file sizes. The small files allow us to have an entire season of 4 camera multicam episodes on 3-2TB FireWire 800 drives. Of course it’s possible to use higher quality codecs and finish the project in MC, but my current TV series works best using an offline-online workflow. For me, Avid’s multicam seems superior to FCP 7 and earlier, and Avid trims better and more intuitively than FCP 7 and earlier.

I like FCP 7 too. I bought the first version of FCP on the day version 1 was released, and have upgraded with each release including X. I love shooting and editing vacation videos and use FCP 7 for that purpose. Also, I took a year off from editing in Hollywood and taught FCP at a film school in Asia. I rather like FCP 7, but for my professional work, I’m glad I’m an Avid ace. For high-end work in Hollywood, you had better know Avid because it’s still the gold standard here.

Don’t be intimidated by Media Composer. Some editors think MC is elitist or overly complex. FCP started out as the “guerilla filmmaker’s” choice and eventually became full-featured and reliable enough for pro acceptance. It won’t take long before using MC becomes second nature to you, just like FCP 7 may be for you now. Check this out, you might find it helpful..Avid for Final Cut Pro editors… https://learn.avid.com/content/FCP/index.html
I’m determined to know and maybe eventually love FCP X. I think it has possibilities. But it’s a long way for being ready for prime time, maybe years. I suggest you enjoy the ride and learn as many editing platforms as possible. Even an old salt like me loves playing with new toys. I still can’t believe these people pay me to come to work everyday. Editing has a been a great career for me and I hope you all feel the same.

Consider the very attractive switcher prices from Avid and Adobe. You may not see prices like these again for a long time if ever. If Apple gets their act together in the future with FCP X, it’s fairly cheap to jump back in.

Kris

[Kris Trexler]

Matthew,

As a longtime successful Avid editor in Hollywood, I highly recommend you take the rare opportunity to buy Media Composer at the cheap “switcher” price. At least in Hollywood, Premiere will get you nowhere except in possibly the lower end market. Avid rules Hollywood and for good reason: it’s reliable and has the tools editors need to express their creativity. And Avid has ALWAYS allowed projects created on legacy versions to be imported to their newest versions of software. If you’re a seasoned FCP editor, your migration to MC won’t be difficult. And having Avid on your resume will carry you a lot further in Los Angeles than Premiere will. If possible, learn both. The more tools you know how to use, the more desirable you’ll be. Your creativity will shine in either platform.

Maybe FCX will be useable someday, but it won’t find its way into professional editing suites for a long time to come…if ever. However, I may use it to edit my vacation video, something it might be ideally suited for.

Kris