Oliver Peters
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Good assessment. Thanks.
Oliver
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My rather lengthy thoughts on the topic 🙂
https://digitalfilms.wordpress.com/2023/05/11/final-cut-pro-logic-pro-ipad-oh-my/
Oliver
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LOL. Hi Michael. Obviously perspectives are different depending on which part of the globe one lives on. My general point was that NLEs have hit a level of maturity. Everyone is waiting for “the next big thing” in the same way as Apple has struggled with going past the iPhone phenomenon.
NLEs are mature products and people have largely settled into their preferred tool. Moviolas and flatbeds went on for years until the whole concept of cutting film went away. Linear videotape suites went on well until replaced by desktop computer editing. I’m not saying NLEs will be replaced anytime soon; but if and when replaced, it will be by a completely different shift in overall production and post. And so people are mostly comfortable with the tools as they currently exist.
In the case of where Resolve fits, I personally don’t see any mass migration to Resolve as an NLE among active production companies, corporate, and broadcast media departments, etc. Some, yes. But it’s mostly individual users. The same ones who had previously tried FCP when X came out.
In the larger world of broadcast and corporate post, ProTools is still the dominant audio post tool and After Effects the dominant VFX tool. Fairlight and Fusion are unlikely to upset that workflow. Not unless your favorite mixer or VFX artist is going to change their kit first. That’s unlikely.
When I referred to collaboration, I was talking about editors sharing project files. On-prem, that’s easy to do via Media Composer, FCP, or Premiere Pro. Also easy with Resolve, except you either have to set up a dedicated Resolve project server or use Blackmagic Cloud. Both are extra steps and hassle. So if you are a Premiere shop, it’s less likely hat you’ll make that change.
As far as an editor cutting in Resolve and sending that project to a colorist/finishing editor using Resolve – I’ve done that and it wasn’t pretty. The various project settings in Resolve are very detailed and confusing to new users. This can completely trip you up. In addition, in my case, missing fonts caused all titles (created as Fusion effects) to show up blank on my system. No warning or flags or font substitutions. No roundtrip is perfect and for now, this also seems to be true of a Resolve – Resolve workflow.
I don’t mean to belittle Resolve. It’s a great tool. I’m just not convinced that there’s any sort of shift to Resolve from other NLEs, nor that it’s particularly desirable. For some, it’s the right thing to do, but not for all.
Oliver
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“has the NLE grown up to a point where it is no longer interesting?”
Good question. I think that may be the case. NLEs now seem to fit into silos based on type of product – social, corporate, film, TV, hobby. Blackmagic is trying to be all things to all users in Resolve. I don’t really think that’s workable if it weren’t for the low cost. And that really only appeals to individual users who don’t need to collaborate in a team environment. Since the toolkit for editing (not VFX, color, etc) is more or less the same for all software, there’s little reason for a user of one brand to want to move to a different brand.
Oliver
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All 4 parts of this interview have now been posted.
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PS: This FCP workflow guide by Knut Hake (German feature film editor) may be helpful.
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There are actually a few considerations here. Are you going to be finishing the film in FCP or is this just the creative (“offline”) edit? If the latter, then how is the finishing going to be handled? Resolve or other?
Then, as far as the footage, is this ARRIRAW or a flavor of DNxHR or ProRes? ARRIRAW is very taxing and will need to be transcoded first. Is it 1:1 pixel aspect ratio or anamorphic?
Assuming that you are only doing the creative edit and not the finishing, then I would recommend that a DIT (or maybe you yourself) prep the footage as proxy media at the native resolution and frame rate.
Regarding project settings, find out what the deliverable format is. For example, HD, UHD, or true 2K or 4K. 16:9, 1.85:1, 2.4:1, other? Edit in those sizes and aspect ratios and adjust framing on the shots as needed.
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I agree that native would be nice. However, we haven’t seen Hocking’s solution in the wild yet. So I’m not sure this doesn’t require transcoding as well. Or am I wrong on that?
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While it’s nice to have options, you have been able to bring BRAW into FCP (with transcoding) for a while now.