[Oliver Peters]

[Joe Marler] “A two-person independent documentary team which is geographically distributed and intermittently connected to the internet could also benefit.”

That’s essentially what PostLab Cloud does.

[Joe Marler] “However Adobe’s announced collaboration approach evidently is based around (1) Timeline locking and (2) Shared local storage – IOW a co-located team using a NAS. “

True. They already have Team Projects, which is cloud-based collaboration. So this is in addition to that.

Honestly, Apple could take the very simple first step, which would be the ability to open a Library in read-only mode when someone else has it open (first person to open a Library gets write permission). Then from that, being able to move/copy material between Libraries. The next level would be to drill just a bit deeper and do this at the Event level. But in fairness, FCP “legacy” could never do this either, so it’s probably never been a priority for Apple and may never be.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Neil Goodman] “i cant figure out why the other 3 just dont copy Avids multiuser approach?”

That’s basically what Adobe has done. Avid Bin file = Premiere Pro project file.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Tom Sefton] “However, if you integrate frame.io well and work with exports and uploads of xml files, it can work very nicely.”

I work with Frame and I just don’t see how that’s applicable. PostLab Cloud gets you close, but it’s still not the same, because it’s a check-out/check-in process. My concern is not long-distance collaboration. It’s for multiple editors working in the same facility. That’s what the Adobe solution is all about. It basically gives Premiere editors an Avid-like process.

I agree that current methods with FCPX are functional, but they are a workaround. I’d rather see Apple do something that would work correctly. Not because I can’t work without it. Rather, it’s just another roadblock that affects whether I can get other editors within the facility to have any interest in X at all.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Tom Sefton] “I’ve seen tens of editors having to roll back… “

Beats me. That’s not my experience and I’ve been using Premiere Pro for years. I currently manage 9 systems with shared storage and it’s been rock solid for us for years. Yes, the occasional quirk, but nothing that is unusual for software.

But more to the point, what’s your feeling about collaboration in FCPX?

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Brad Hurley] “Apple may think they ticked that box when they introduced Frame.io integration.”

Not even close. Right now if I have two editors working on the same production, I have to have 2 separate Libraries and use a temporary “transfer” library to move files between. While that is serviceable for most FCPX clients, it’s a stumbling block for many others. Ironically, I feel like Apple’s first approach, when Events and Projects were separate data files, was actually closer to getting them there than what we now have.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Devin Crane] “10.4.7 Broke captions?”

Yes, but in a limited case. If your sequence was long, like over 3 hours, captions quit displaying after a given point. This was repeatable and verified with Apple. Obviously a limited use case, which is always the issue for developers who need to track down these bugs.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Tom Sefton] “Adobe keeps rolling out the updates, as per usual, but they keep breaking. Didn’t a recent one stop any files being able to be exported from Premiere or Adobe Media Encoder?”

Everyone’s updates always break something. The above is incorrect, except probably in a few isolated cases. I have some minor issues with the current version of Premiere Pro, but those could also be related to the trash can Mac I’m using, which is really hitting its design limitations big time.

FCPX 10.4.7 broke captions, but that was fixed again in 10.4.8. The first release of color wheels in FCPX was fairly incorrect in its math, which was quickly patched with the next release. It happens to everyone.

I’ve been on Adobe CC at the current shop with multiple systems for numerous years. I update CC pretty much right after these updates are released. Very few complaints on my part or those of any of our freelancers. Every now and then something comes up, but not any more or less than with other NLEs, including FCPX.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

I get that. Throughout the article he refers to using After Effects for the pre-visualization of VFX and then presenting that to the VFX house for reference. It doesn’t sound like any finished effects were done on the edit system. If that’s the case, any newish Mac would do just fine – for instance old Mac Pro towers.

– Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

Films like this are generally not cut with native, full res media on the edit system. Usually lightweight edit files are created beforehand and that’s what you cut with. Then the finishing is handled by the facility doing color correction. Many times the editor never sees or touches the original media. If that’s the workflow, then the age of the software and hardware in less critical. That’s one of the reasons that older Avid systems are still prevalent in Hollywood.

Oliver

Oliver Peters – oliverpeters.com

[Oliver Peters]

[Shane Ross] “(shade throwing continues!)”

You’re enjoying this way too much ☺

– Oliver

Oliver Peters – oliverpeters.com