Robert Brown
Forum Replies Created
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“So if you’re really a professional you shouldn’t want to be reliant on software from a company like Apple. Because your heart will be broken. Because they’re not reliant on you. Use Apple’s tools to take you as far as they can – they’re an incredible bargain in terms of price-performance. But once you’re ready to move up to the next level, find yourself a software provider whose life-blood flows only as long as they keep their professional customers happy. It only makes sense.”
Ron Brinkman
My impression of FCP has long been that it’s a product of a software company and not a product of a company that knows anything about video. Apple really is all about the stock price so this day really had to come but I think it’s a good thing. Apple doesn’t need to make professional editors happy but Avid and Adobe do so the pressure is on them right now, but it’s also a huge opportunity. Don’t F it up!
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I don’t mean it as a complaint. I know there are difficult things to deal with when you have 2 PCI cards doing a lot of the work. But as a request I don’t think it would be that hard to have the ability to turn off the Kona card since I see many other programs including After Effects that can do it. But I’ll post it on their request page.
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I’m reading this whole debate and I’m really having a hard time understanding why the timeline needed to be re-invented. Audio usually drives the edit with picture often more or less stacked on the audio. For the most part there are 4 possibilities of types audio: music, voice, nat sound, and sound fx. You play your timeline and LISTEN to it and decide if there is too much space, too little space, something getting cut off or something in there that shouldn’t be in there and adjust accordingly. I have zero problem doing this with existing technology. I haven’t tried “X” yet but the first day it came out and I checked out the videos I thought to myself “why bother?” I’d rather learn Nuke or something worth spending time on.
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I heard Motion was like that. SOmething to do with the GPU. I hope it’s not the same for Premiere. I’m just getting my feet wet but I’ll have to test that.
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But other than that you like it right? ; )
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Yes I was experimenting with the idea of setting up things in a non Kona TL and then copying, or nesting is an interesting idea too. What sort of Time Line would be good to use if editing Pro Res 720 for example?
But I still like FCP’s ability to just turn of video out without having to do anything else.And yes I get more or less the whole preview concept. In my work though I do tend to render everything as I work so I can see how it plays out. And I think it was significant to learn that the codec choice has a big impact on render speed. There was a thread here about which codec is best for PPro. I’m liking Pro Res.
I bought it so I guess I can use it all I want.Also there are many situations like in live broadcast TV where people will just play out from the timeline and it is captured into another system. And speed is everything in that world.
And I know some of the tests I did were nothing groundbreaking, but I was getting so fed up with the crap DVE in FCP that it was nice to see a system as clean as the linear bays I used to work in. And for a lot of editing as many of us know the simplicity is lay out the edit, color correct and font.
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I’ve seen this to. On a project last night it simply wouldn’t work. I found the function in the menu and it was greyed out. Went to another timeline and it worked again.
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My theory was that ProRes would be a big reason people would continue to buy FC, but if they stripped it down? IMO DVCPROHD and ProRes were 2 of the biggest game changers for FCP. It’s just really bizarre to see Apples moves here. Maybe they’ll wise up and sell the codecs for $50 or something. That would be the smart thing but…
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If you can’t seem to get any progress I would suggest installing OSX on an old hard drive with CS5.5 and trying that. It’s possible to get something wanky with the OS that’s impossible to sort out. At least you can verify if it works normally on your computer that way by eliminating the variables that numerous software installs could have introduced.
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[Chris Kenny] “Did the widespread availability of laser printers (or, for that matter, pens) de-professionalize writing? Well… yes, in the sense that lots of non-professional writers now write all sorts of things. No, in the sense of eliminating the need for professional writers.”
Uh how is that a useful analogy. Maybe printing?
In any case maybe I exaggerated about Apple “promising” to leave broadcast. They have just given us many “signs” that that’s what’s on their mind. But I happened to talk to people from Turner and Fox yesterday about this very subject and to them FCPX is not in their future while FCP7 is definitely in their present.
But actually I love the timeline in FCP. I will miss it when it’s gone but I’m sure I’ll still be using it for another year or so. And that’s what was a shame to me. They came up with a great editor but just never seemed IMO to acknowledge all of the innovation that came before them and so never took the quality of video processing to the level that had already been achieved. I say that because I worked in linear bays and worked with really amazing tools for their day designed by people who knew what they were doing.
FCP could have evolved into an incredible product. Also IMO the timeline was the last thing that they needed to fix. That was the best part! So you can give me a lecture about resisting change if you want. I don’t resist change in fact I’m not resisting this whole thing at all. I just see it as a missed opportunity but hopefully one of the competitors will pick up the ball and I think they will.
And I do hope this signals the decline of Apple’s penetration into broadcast and the Pro market. I just don’t think they deserve to be there. Their computer are fine and I will continue to buy them but their know it all approach just really annoys me.