[Mike Warmels]

Read before you post please. I explained clearly why I CANNOT update yet. It has to do with a client who can’t update.

And then we run into the downward compatibility issue (something I’ve been dealing with for many many years of FCP (ANY version). It’s these things that never gets solved, simply because Apple doesn’t want different stuf around: they want you to continually update and buy new stuff as you go along.

And I know you can move your render files etc. But I work WITH other people who also work with my libraries. So we have to keep things simple (ideally I’d only exchange libraries but sometimes we run into relinking issues if we have copies of the same media).

I sometimes get the idea that people who worship FCPX work alone… not in larger workgroups with different locations, different set ups, audio mixers, color graders, broadcasters and their broadcast requirements (I can’t even make a broadcast master for my country from FCPX – you always have to go third party, but not even Compressor helps out there).

Let me put it very simply then: FCPX is NOT perfect. AVID is not perfect. Premiere is NOT perfect. They all have issues, that’s why we discuss them.

[Mike Warmels]

No need to be so hostile, dude. Or condescending.

I said I have been working alone AND with FCPX experienced editors. Guys who have been working with it professionally for over two years. And I even see them run into these problems.

The idea has always been that FCPX is quick, intuitive, easy to learn, new paradigm, etc etc. So I have cut six 25 minute shows in the fast two months weeks from start to finish on FCPX. It’s not like I’m a novice in editing. I have been doing this kind of work for well over 20 years and I have done all kinds of editing systems lineair, non-linear FCP7, AVID etc. If I run into weird things with a new system and ask editors who have been working with FCPX for over two years and even they run into them but found ways to work with or around it, then it’s just part of the system.

So there’s a lot of boasting about FCPX going on, and people like you who seem to find a need to go condescending people who have issues with then, fine… have your fun.

I thought this was the “FCPX or NOT” thread, not the “FCPX is God’s Gift to Editors’ thread.

Feel offended by anyone who points out things that don’t work well. It critics that make these systems better, you know.

[Mike Warmels]

Yes, and I just explained how that works if my MAJOR client uses it for the projects I do for them and they CAN’T update.

Now, AVID isn’t perfect, I’ll give you that, but it certainly doesn’t give a hoot in what version people work with. You have to understand that larger companies, editing facilities work in huge server based environments that are for instance still based on Mavericks. They cannot “just” upgrade to FCPX 2. (which ONLY works under Yosemite) because that would have huge and pricey ramifications for the ENTIRE set-up. If FCPX would be upward and downward compatible, there would be no issue.

I hope you can understand that. That being said, you act as if these options you refer to are the basic elements FCPX has to offer as in “always”. FCPX 10.2 has JUST been released a few weeks ago.

[Mike Warmels]

Which was?

[Mike Warmels]

I find it “not finished”. It’s just a tool. I have several clients who work with various NLE’s. So I just adapt and work with what they prefer.

It’s just that after a few months intensively working with it, although I’ve had it and used it a few times before in the past few years, I don’t get the “best and fastest NLE EVAH!!” praise it’s been getting for quite a while now. I don’t think it’s the best, and I seriously question that it’s the fastest.

And yes, there are things very unprofessional about it. It’s not great in working with other systems, it needs a lot of space (Libraries reaching sizes of well into the double digit GB’s), it needs a LOT of memory… and it’s not downward compatible. Something that FCP7 had already, except at that time using XML to go ‘down’ to previous versions worked well. In FCPX you lose a lot of crucial data by doing that.

So it’s a serious tool, but to be honest, it’s just not finished IMHO. I think they threw it on the market too soon and it’s being reworked, refined etc ever since. I’m sure one day it’ll be a fine working NLE.

[Mike Warmels]

Well, three weeks ago it was the current version.

I can’t upgrade unfortunately because I have large customer who uses 10.1.4. And since they work on SAN, and that doesn’t work with Yosemite yet, upgrade causes problems. Because Apple if so professional that the FCP versions are not downward compatible… smooth.

[Mike Warmels]

I often export in lower resolutions to send off to commissioning editors or producers. No need to send them X GB sized files.
And sometimes people need it in particular specs for internet, animation or particular SD purposes. And I fin it bothersome to go to a different program…well, bothersome. Let’s just say I find it totally Unprofessional. FCP7 used to be able to do it, so why not FCPX.

About the native stuff. It works natively, I know, you can use it. But that’s not the point. As I said: with native MXF you’re only using ONE core… Not the SIX Apple gave me. And MXF is a pretty big compression. So now you have to work with that compression and NOT use the 64 bit technology. So why can’t FCPX just import and convert the stuff to Apple Pro Res? It’s just silly.

[Mike Warmels]

Oh yes, that’s a good: watching my HD footage in some crap resolution as it keeps changing the output resolution based on how busy FCPX is. I thought the time of SD was over.

[Mike Warmels]

I don’t have or like the magic mouse. But my playhead ends up at the left. And after zooming out and in again, it usually ends up in the far right. It’s FCPX10.1.4… not really age old I would say.

[Mike Warmels]

Well, it simply doesn’t. When I stop, it usually ends up all the way left in the timeline.