Neil Goodman
Forum Replies Created
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[Joe Marler] ”
On all three NLEs IF you create proxies, they all feel fast. However both FCPX and Resolve 15 are fast enough on a 2017 i7 iMac 27 to smoothly edit a single stream of 4k H264 without proxies — Premiere is not.
“I dont get into measuring such specifics like this. Im an offline creative editor at the core and rendering/exporting/codecs and all that dont mean a thing to me. I get handed a project – I edit the media in whatever form its given to me in, and then upon completion I hand it back to someone else and they do what they got to do to get it delivered. I pay no mind to what codec it is.
What I do know is that all 3 NLE’s work damn near flawlessly on a 2010 Cheesgrater that I have at work and just as flawless at home on a 2017 peced up Imac. Things are quick snappy as as much as real 1:1 feedback as Ive ever gotten from software when I input commands. Thats what I consider fast. Software stays out the way while I make shit.
I understand everyone has different things they need to do but getting caught in these – my NLE can render this .2 seconds faster than yours stuff is toxic and at the end of the day is really meaningless when it comes to getting content out the door.
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[Bill Davis] “Davinci Makes a track based editing program that handles video perfectly well on current Macs including Laptops. I’d merely ask you why can’t AVID and Adobe do the same? “
Im curious what makes you think Adobe and Avid don’t work well on Macs? Kind of weird since Davinci notoriously takes significant more juice to run smooth than either of the two apps you mentioned?
Especially quirky statement as I can safely assume you have no first hand experience with either one, especially not in the last 7 years.
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I watched out of curiosity and because I thought/ think its completely insane that someone went and spent their’s and other people’s money on something to merely validate their NLE choice.
Any info here is widely covered in the last 7 years on pick your internet forum with nothing but blank optimism and here-say to look forward to.
Hard to call it a “Documentary” per se but more like a network clip show IMO. Too much bias.
Decently made, but really not sure who this is for? More preaching to the choir and circle jerking for the people that are already adept at doing that?
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[Shawn Miller] “Amazon Studios were partly AVID and partly Premiere Pro these days”
Amazon defaults to the production company making their shows. Then they default to whatever agency is cutting their marketing. Not much going on in house at Amazon worth talking about.
Not sure about Microsoft.
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[Oliver Peters] “Since in 7 years, FCPX (and for that matter Logic Pro X) hasn’t taken the film world by storm, the traditional choices are still the safer bit.”
To be fair – Logic could and I dont think ever was supposed to compete with protools
It was born a midi creation app – intended mainly for virtual instruments and composition . Audio recording and editing was eventually an after thought back when it was a PC only program. Since then the audio recording editing side of things hasn’t matured barely at all while the midi side gets more and more robust. Pro tools started as Audio then added midi and its midi is still a joke compared to logic.
Its very common that people make songs in logic, write the music etc then bounce the parts over to pro tools to record and mix/ polish.
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[Oliver Peters] “You got to figure that at the start of X, schools were coming off of a growing FCP7 presence. So, in spite of misgivings, many believed in Apple’s sales pitch. Apple has a very solid education presence, so there’s also a logical path from high school to college. Hence, you see a lot of FCPX in these circles and there’s nothing wrong with that. Let students make up their own mind.”
Sure at the beginning 7 years ago it would have been ok to assume that X would eventually gain traction – now that is has little to none traction in that world – Id say its ok to steer the students in the direction best suited for success.
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[Tony West] “004? Wow, that’s interesting.”
We had a staff that all came from features and were pretty snobby about it. Keep in mind the only “good” TV at that time was HBO. Good meaning rivaling feature film quality. Everything else was prime time sitcoms and award/comeptition shows. This was also just before the reality boom and the writers strike. Now I’d rather work in TV than features – go figure.
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[Mark Smith] “Lets say that Feature film editing which many people here might hold as the pinnacle of the editing realm is like the NBA to a basketball player. How many jobs are there in the NBA as a ’player’ which might be analogous to being an editor? Number of NBA teams * players on team rosters = not that many jobs at the top of the basketball world.
Same in the feature film world.
Still there are plenty of people making a living cutting videos and that number isn’t going down…
If Casey Neistat cuts his stuff on X, I’m not even sure he cuts his own videos but lets say he does. You may or may not like Neistat videos, but he’s making bank off youtube with the videos he puts out. While not feature film editing, his case is clearly a commercial success which is inextricably linked to his use of an editing platform to tell visual stories.
There are tons of people out there editing videos these days compared to 20 years ago as the price of entry to making a video has plummeted to tiny fractions of what was in say the year 2000. The commercial opportunities have greatly expanded and while cutting a feature still might be the pinnacle for some, making a Casey Neistat type of living off of making videos is certainly a strong lure to many up and coming editors.”I agree – and now there are kids who do indeed want nothing but to be the next Casey – so theyll follow that pathby vloging. But Id have to imagine at 20 years old – most kids entering into a film school have their eyes set on the prize and sadly enough barely any of them will make it there because like you said theres not enough positions and they’ll find there are plenty of alternatives to features once they enter the workforce or even other interesting jobs other than editor.
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[Oliver Peters] ” I guess the thought is to focus on tools they’ll likely encounter in the professional film, TV and media world.”
It trips me out that teachers teach anything but Avid and Premiere for the same reason.
Lets be honest – at 20 years old – no one aspiring to be an editor says I want to make corporate video or wedding videos or even trailers for that matter .They all want to cut feature films. In my day TV was looked waaaayyyy down upon to the point the teachers wouldn’t encourage that, its a good starting point. It was films or nothing.
Since films are mostly cut on Avid (and a little on premiere i guess) why on earth would you intro FCPX into the curriculum ? It would put your students at a huge disadvantage in the current day to be thrust into a market only knowing a tool no ones using. Sure you will still learn story but your not going to get a job as a editor right out of school. Your going straight to the vault or the AE room where story doesn’t matter -you got to know the programs there using inside and out.
With that said – today is very different than when I went to film school even in 2004 , but Id have to imagine – except for TV now being just as legitimate as film in certain situations – kids still dream about being at the top. Knowing FCPX as well as Bill Davis unfortunately isn’t going to get you there in the current climate.
It a great tool and I suggest everyone learns it to have in the back pocket – but to make a viable career off it in the major markets, is still but a pipe dream.
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[Shane Ross] “I see people from kids editing web videos all the way up to feature films using FCP-X…something I cannot say about Avid. I can say that about Adobe too…with the low cost student subscription model.
“Probably will change a little with the intro of the free Avid First and them dropping the price to 20 a month to get into the full Avid. Cheaper than Adobe now for a subscription. Will it make a difference – too soon to tell, and maybe too little too late.