Ronny Courtens
Forum Replies Created
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Hey Mike,
I see you are based in Utrecht. If you know your big client well and he has any questions about upgrading his network or his workflows, tell him he can contact me. My advice is always free, and I think I know reasonably well how to make FCP X run fast as hell on a large shared storage network.
– Ronny
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I was pleasantly surprised to see so many people attending the FCP Expo event. It’s been great to meet Noah, Sam and many others in person. But it’s also been amazing to see so much interest for FCP X from large broadcast companies and post houses. Some people I know flew over from different parts of Europe, only to attend the FCP X presentations. The people from Apple were there during the entire event, from morning to evening, talking with attendants and listening to them. And they really took their time, which has been greatly appreciated by everyone I have talked with.
From what I understood, the presentations will be posted online. This was the first time ever that I accepted to do a public presentation, and I have no regrets at all. When I did my preso the room was packed, people were very interested and many questions were asked (and, hopefully, answered once and for all). We had so many interesting contacts during and after the event that I haven’t even been at IBC, nor at the sponsored supermeet. No big loss, for us this has been a very rewarding experience.
As to your question, Bob:
I think one of the major strengths of FCP X is exactly what you say: the application is so intuitive and visual that it can be learned very easily by any high-school kid. But it is also so deep and powerful that any true professional can use it happily on any high-end job. And this is what makes it so appealing for large multi-user setups where many creative professionals who are not full-fledged editors (journalists, directors, post producers, interns…) work together with hardcore editors, colorists and sound mixers on a fast shared storage network to create and deliver a TV program or movie. Everyone does his job right from within the FCP X interface, no-one ever needs to mess around with folders or files on the network, and no-one even has to care about how things work internally. Everyone can do his specific job and be creative without being slowed down by technical barriers or bloated interfaces. And they like it this way. This is probably the main reason why we are seeing so much adoption of FCP X in multi-user environments at this time. Expect some really interesting user stories on fcp.co before the end of this year (-:
– Ronny
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Gary made a good point. Can you post a screenshot of the red warning on one of these clips so we can see if this is actually a missing clip warning or not?
– Ronny
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Hi Doug,
Try this:
Group-select the “missing” files, then choose File > Relink Files. In the Relink Files window click the “All” button instead of “Missing”. This will show the “missing” files in the relink browser. Then Locate and Relink.
– Ronny
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Sebastian,
Regarding the .mpeg files: we always get these when we ask for archive footage from our national broadcaster. Of course .mpeg is just a wrapper that can hold many different variations of MPEG. But in our case simply changing the extension to .mod allows us to import the files in FCP X without any issues. Just an idea , it also might work for you. (.tod might also work.)
– Ronny
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None taken, Neil. To be honest: when I first saw that photo I had exactly the same reaction (-:
But I can assure you this company is “an editor’s dream”.
– Ronny
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Neil, you couldn’t be more wrong. In the +39 years I have been working in the industry I have rarely seen a company where editors get so much respect and the atmosphere is so relaxed as at Metronome. The open space is for journalists, story editors and post producers who work together, pre-cutting and reviewing the stories. Having direct contact with each other makes their work easier, and they prefer it this way. For more detailed editing and for finishing the editors can use one of the many dedicated editing suites. Not to mention that at Metronome the editors are among the best paid people in the production chain (-:
So, with all due respect, your comparison with a “sweat shop” doesn’t make any sense.
– Ronny
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Correct, gents. Just to let you know the problem has been solved by e-mail. I told the OP to create a Smart Collection for synchronized clips, to make sure he could not confuse the synchronized clips with the original ones in the browser. He took it from here.
– Ronny
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Hey Darren,
Can you drop me an e-mail, I would like to know more about your experiences with this project: ronnycourtens@mac.com
– Ronny
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[Walter Soyka] “On a larger view, how do you balance adding first-party capability against the viability of your third-party ecosystem?”
With 3D titles I think we are seeing the same thing we have always seen: Apple provides a feature that will probably satisfy the average user who wants such a feature but who doesn’t need nor want to learn advanced techniques. And they leave plenty of room for third-party developers to fill the holes for people who do need advanced possibilities and who are willing to pay for this. In the end everyone gets what he wants.
– Ronny