Misha Aranyshev
Forum Replies Created
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Not everyone who dislikes FCPX is scared of neighbors nephew with VDSLR. I don’t. For the last three years I made more fixing their stuff than I made cutting the professionally produced projects. The curious part it was not the format of the footage they brought — it was HDCAM, R3D, ARRIRAW and even film — that put them into the neighbors nephew category but their I-just-invented-filmmaking attitude and incredible sloppiness of the product they make.
What I’m venting on this board is the anger at the situation that the tool I find worn down but acceptable is going to stop working, the brand new tool from the same vendor doesn’t work at all and few other tools left on the market are rather unrefined.
Avid after ten years of FCP eating away at its market share still didn’t teach Media Composer basic rules of screen hygiene. It still shits all over the display with overlapping windows, ugly widgets and wasted space.
Adobe Premiere though finally having an almost complete editing toolset doesn’t give you access to this toolset from keyboard.
And FCPX is just a freak-show of rejected interface ideas from long gone NLE’s.
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[Mark Suszko] “We used the razor tool to slice thru all the tracks at each cut point (we ran a realtime playback pass first and just tapped the key to create a marker at each cut point we wanted, then arrow-forward, razor, arrow forward, went pretty fast.)”
It is for the sins like these gods unleashed the magnetic timeline and no viewer upon us. Razor blade is Control-V in FCP and it works during playback. It even puts temporary markers on timeline for visual feedback and keeps them there until you hit stop.
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[Craig Seeman] “Sometimes I have to wonder why professionals don’t see this potential in FCPX.”
I see it. I also see that by the time they introduce multiseat collaborative features it might be irrlelevant
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No. My objection is to calling something clearly designed as 1V2A timeline that is always in ripple mode “innovative and revolutionary”. It is very old and very restrictive.
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[Chris Kenny] “How does the slug that appears in a gap prevent you from doing this?”
Strictly speaking it doesn’t. However it sits there constantly reminding you of the fact the guy who designed this timeline got his idea of editing from his roommate who’s grandma was cutting Mack Sennet’s flicks with a pair of scissors. It’s not the future of editing. It is the badly understood past.
[Chris Kenny] “IMO this ‘gap slug’ behavior is a very nice feature, because it allows gaps to be treated like normal clips.”
Gaps in real FCP behaved just like regular clips. You could select, delete, ripple delete and trim them as you liked. Didn’t you know that? But still they looked like gaps, not like another clip. Visual clues are important.
All this “faster horses vs an automobile” stuff is BS. FCPX timeline isn’t trackless. It is clearly designed as a 1V2A timeline with everything beyond that slapped on as an afterthought and held to it with huge amount of gaffer tape. Every single “innovation” there was implemented long ago to various degrees of stupidity in other NLE’s. Apple just collected the worst design decisions and scrambled them together.
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When Philip Hodgetts started his series of articles on the next FCP long before it was released he talked about metadata. Gotcha, I thought, the next FCP would be multiseat. But right now the same Philip Hodgetts says all this metadata is stored in such a way it is impossible to publish.
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If there is a real Video I/O for FCPX soon, the new Mac Pro will come. If there is none, then chances are it will not.
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[Roger Bolton] “BlackMagic’s low cost cards for Mac were one of the key partnerships that allowed FCP to dominate the editing marketplace, and it’s inexplicable to me that Apple thought they would somehow benefit from not providing them early access.”
Apple always treated BMD as a nuisance so that’s nothing. AJA was their buddy and what AJA released to support FCPX is much more revealing. Real Video I/O wasn’t planned for FCPX by Apple and probably still is not.
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I’m providing broadcast material. I’m also providing film material. Remember, the celluloid strip with perforation on both sides? I’m very angry at what Apple just did. So I perfectly fit the description of a member of “elite class” you refer to. So please let me tell you why the riot that’s going on here is fully justified.
Were you using FCP7 a while ago? Did you like it? I guess you did. So it happens the tool well designed for my type of work is just as good for your type of work. Unfortunately the reverse isn’t the case.
We both paid for previous versions of FCP. Apple took my money just as gladly as yours. But they decided to spend it on something that’s good for you but totally useless for me. And there are strong technical and economical reasons to believe they are not going to add the stuff I need any time soon.
I’m sure your client are as demanding as mine but I have added pressure of having a number of colleagues working on the same project up and down the production pipeline. And to be honest any of them can screw things up any moment. So I’m constantly looking for a way to shave a second on any task I’m doing to catch up the deadline. That means you have the luxury of being less efficient than me if you feel so. Doesn’t mean that you wish to be but you can afford more than I.
I don’t advertise myself as “Broadcast Editor”, “Online Editor” or “Film Editor”. I’m just an editor so if someone comes to me asking to cut something for web or DVD delivery I must do it unless the subject is objectionable to me. Especially when I’m not freelancing but work for a facility. That means I’m probably as good at what you do as you, at least technically.
The fact you don’t intend to provide “broadcast material” doesn’t mean you won’t do it one day. The client comes and asks for DCP instead of BluRay and you’re suddenly a member of the same “elite class”. We don’t do some particular work to boast about it on the COW. We do it because it pays our bills.
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Thanks for your kindness but I have to confess, I charge them an arm and a leg for their stupidity.