Marcus Moore
Forum Replies Created
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I think Disk and traditional broadcast are going to be the late adopters to 4K- online distribution will get there first, where a company like Netflix can serve you at whatever resolution is sniffs out that you need.
I know Netflix has some 4K programming right now, but playback is limited to a couple of TVs with the right internals.
I was really hopping that we’d have seen wider adoption of h.265 so far this year, which is going to be critical for more widespread 4K distribution.
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Well, if you install overtop, you can save yourself that 20 seconds.
The AppStore version is always a bit behind, and from what I’ve been told not the version you REALLY want to be on, cause it has restrictions that the one on the BM site doesn’t.
Though I can’t remember what those are.
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Have you set up user accounts or anything with the Beta version?
It shouldn’t really matter. Delete and install or just install overtop. You just can run 2 versions at the same time.
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No, you don’t need to uninstall the Beta. Just run the new installer and it will replace your current version.
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Full non-Beta Lite version is definitely available. I’ve downloaded it already.
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Egads! Remarkable.
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There may be some case to be made that FCPX isn’t as impenetrable, or at least an easier migration from iMovie- so some people who may have stuck with that product in the Legacy days have been tempted by the familiar interface (and likely price) to move over to FCP X. I know the fcp.co board are getting busier and busier with new users who are coming from iMovie.
As for numbers- I’m going to email AppAnnie this weekend to see how much it would cost for their stats on ProApps. The number could be at least be partially crosschecked against the Apple 1+ million number from April. It could shed some more light onto the question of growth-curve.
Look forward to your further thoughts.
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Well, I’m not sure how they could have been clearer about the benchmark they’d achieved. People are always going to misquote or mishear. I’ve head seen lot of people conflating Adobe’s CC subscription numbers with Premier Pro adoption, or in the last thread when someone conflated AVID total products with AVID numbers- it’s just something you can’t avoid. People like you and I just need to make sure we correct people when we can!
As to numbers, I remember FCP7 was considered a fairly minor update at launch, especially after the heady days of Final Cut Studio 2. I know it took a lot of my client YEARS to upgrade. And again, I’ll go back to the point I’ve made repeatedly that our market may not be as large as we think it is; looking at if from inside.
One other thing I’ll just jump back to, since I re-read our conversation that you linked. You mentioned FCP licences proportional with Mac sales. I think that’s a bit of a red herring. Apple had a strong presence in professional arts then as it does now (at one point just about the only people who were using them)- but a majority of the growth in Macs over the last decade (from about 2.5% to about 12% today) has come from “consumer” adoption- people who have migrated from PCs but aren’t in any way the market for Final Cut. So I’m not sure why you think FCP growth should be proportional with Mac sales.
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What spin are you talking about Franz? I’m not sure how anyone could conflate “over 1 million” seats of FCP X for the “2 million” Legacy seats Apple announced had been sold when they debuted FCP X in June 2011.
I suppose technically there could be more buts in seats using FCP X, since technically one shop could have 5-10 people working off one X license (5 is the “letter of the law” but it’s not enforced as far as I know). Anyways, there’s no way to be sure on that so we might as well just go with the number of sales. I’m sure Apple will let us know when they’ve passed Legacy sales- since they made a point of telling us when they’d passed sales of FCP7.
I’m wagering that will happen as early as NAB next year, or certainly by NAB 2016. If they do, that will mean FCP X sold 2 million seats in 4-5 years, while legacy took a decade.
I don’t know how this could be a disappointment to anyone.
And as for overall NLE numbers, I know you and I have been around this course before… 🙂 There’s loads of caveats on numbers from both Adobe and Apple- and I think there’s too large a grey margin for any definitive conclusions.
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If time-saving isn’t a metric that’s important to you, then I wonder what part of the industry you’re working in. 😉
The associative nature of the timeline is something that I’ve come to very much enjoy, not only for time saving reasons but for how fluidly I can cut. If I desperately need to pancake footage, I can sandwich them between slugs. Let me be clear, I don’t see a substantive loss of control when I work.
I think you’re finding an inherent problem with the philosophy of the timeline thats just not there- and that’s because you don’t like it. And that’s fine. One of the great advantages here is that there are now TWO philosophies for timeline construction. Traditional track-based NLEs may find things to learn from the FCPX timeline and integrate them over time. At the same time there are things from Legacy FCP that I’d like to see reincorporated to the X timeline- visual organization is lacking, and trimming tools still need work. But the base conceit of the magnetic/connected/trackless timeline is something I very much hope Apple never gives up on; cause me, an editor since the mid-90’s, loves it.