Paul Golden
Forum Replies Created
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Well it was in Mac Rumors… I was surprised to see that Tim Cook knew what the Mac mini was! They will probably put a wristband on it and make it out of breakable glass next….
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I forgot one other reason not to: You need twice as much light! 🙂
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At the risk of being impertinent, what’s the reason for wanting to do this?
While it sounds like some sort of problem solver to shoot at 50fps for use at 25, shooting this way is rarely done as a matter of course for several reasons:
1) Double the amount of data
2) Post processing headaches
3) No apparent benefit for most of the footage you shoot.Unless you have a really good reason (need lots of slow motion), I can’t see why you’d want to shoot this way for normal footage. You asked a tech question and folks have answered it diligently, but I’d go back to the original reason of why you’d want do it if you don’t have to? It seems like overkill.
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It’s hard to compare Apple with Adobe when it comes to software sales discussions/strategies.
Although Apple charges for certain software, it uses software sales as somewhat of a loss-leader for its hardware universe that includes not only workstations, but tablets, phones and other devices. That is why Apple can afford to sell FCP for $300.
Adobe is a software company that must make all of its money from software sales. The Creative Cloud represents the fact that once the software is no longer physical (installation disks, 18-month refresh cycles, etc.), the marginal cost of including all-you-can eat is zero. So the more products they include in the Creative Cloud suite, the more valuable it is to the end user without a great deal of extra expense to Adobe. Even though Premiere and After Effects is a fraction of Photoshop’s user base, it is an important part of Adobe’s Cloud ecosystem.
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My point is not whether FCP is a significant part of Apple’s business ( of course it’s not), but simply that as a business unit, they must have some metrics regarding user base and make business decisions based on that. There are likely not enough users at this point to justify substantial (or any) resources to ensure continued support.
With all software, you are welcome to live in whatever part of the past you’d like, but don’t expect it to play nice with an ever changing present.
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I’m sure that Apple, if anyone, has done the numbers on current FCP7 users, and has concluded there are not enough left by now to justify additional resources. It should still work more or less identically if we don’t upgrade our machines.
As an owner of a vast array of tube amplifiers and turntables and the owner of one car from 1988 and another from 1999, I’m the last guy who would get on his high horse about staying “current”.
There were features I liked better on my Palm Treo, but the iPhone was such an improvement in other regards that I did not regret my decision to move on. Considering that Premiere is a near clone of FCP7 (or maybe FCP8), I think we’ve got enough similar alternatives to get our work done if we feel inclined to move on to the next operating system. No doubt that FCP7 has little niceties that have no direct equivalents , but for my workflow, which is primarily commercials and VFX, I don’t miss it at all.
As an aside, did Apple’s announcement that FCP7 would no longer work on HS mean that was the date when “official” support ends or did Apple stop supporting FCP7 (tech support) a long time ago?
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Even though I converted to FXPX more or less with version 10.0, I’ve kept FCP 7 on my MacPro 2013 and MacPro 4,1. Since the 4,1 will not be making the leap to High Sierra, I will leave FCP7 on that machine. To be honest, I’ve rarely had to open FCP7 in the last several years and when I did, I used 7toX and got the hell out of there as soon as possible. It always feels the same when I open Premiere – i.e. THE PAST. I know everyone’s excited about Resolve editing, but I feel the track based paradigm has lost the luster (for me, at least) and FCPX offers a much more modern foundation (and is way more fun.)
At this point, I can’t imagine many people, apart from forensic experts, nostalgia buffs and archivists, wanting to open FCP7 projects, so I have had no expectation that Apple should keep it supported after more than half a decade of warning. Based on a boat-load of old code and QT7, FCP7 has been on thin ice for a while and anyone who didn’t take the hint is putting their professional life in their hands and is living dangerously.
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You could extend the clip head temporarily, set the keyframe and then roll the clip in point back to where it was. The keyframe will live out to the left in limbo but still be attached to the clip.
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Welcome back to 2003!