Simon Ubsdell
5
COW Coins
Forum Replies Created
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Oh and I forgot to add, that here in the UK (at least and probably elsewhere outside the US) the offer is not available for download and only as a shippable box which comes at a 30% premium, so the actual price is nowhere near the advertised $999. So amazingly typical of AVID to come up with a cheap scam like that!
Still you gotta love their chutzpah.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
But typically, the check-out page doesn’t accept any of my three valid Visa cards! Looks like I’ll have to download the demo version and wait to try and talk to a human being who can sort it out – timewasting that I just don’t need right now..
The AVID website is and always has been a joke – unless I’ve always been extremely unlucky, which I suppose is possible. I’ve been using Media Composer and assorted AVID products (including ProTools of course, and way back when the much-lamented Audiovision) pretty much since their inception and their whole idea of an appropriate client interface is still as bad as it ever was. You’d have thought with the competition hotting up all the time, they’d put a bit of effort into their support operation … I’ve just remembered why I really love Apple for all its faults!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Thanks, Andy – that’s exactly what happened. Found it now!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Great list, Ben, seriously! Hope you get even half of what you wish for.
For me, though, there’s only one thing it has to have and that’s fast and effective way of editing from one sequence into another – absurdly, from the point of the way I need to edit, without that functionality I won’t be able to use FCPX for work purposes at all, though I will like everybody else be jumping at the chance to have a play with it. Unless or until it come with that functionality, it will stay a shiny plaything for me.
I’m sceptical about getting this because FCP currently doesn’t really think this is a necessary editing function, witness the fact that the default edit behaviour when cutting from one sequence to another is to nest which is daft and pointless and very annoying (yes, I’ve remapped the keyboard and I know about using the Command key, but still I think it shows they don’t really understand this aspect of editing.) In consequence, I now work with multiple sequence tabs and copy and paste from one to another and it works fine, although i could wish it to be better. I have a concern that it doesn’t appear to be possible to have multiple tabbed sequences in FCPX or that this issue will be addressed at all in the 1.0 release.
Of course, all this might be fixed using the magic but currently invisible “Revert to Classic Mode” button that I read so much about on this forum 😉
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
It accepted my serial number OK – I gave it the FCS3 upgrade number rather than my original one and that worked for me. It then said that the application had been successful and to stand by for an email. I’d imagined this would be automated, but if not it might be that I did this yesterday (Friday) and it requires human intervention so nothing will happen till next week. At least that’s what I’m hoping. I don’t fancy having to battle it out with AVID to try and get any sense out of them!
Good luck with yours!
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Absolutely, hurrah for floating point!!!!!! This is really good news and means that FCP is no longer compromised on picture quality for finishing.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
I’d absolutely agree that Smoke is a great finishing tool and I’ve used it quite a bit for that purpose – but that’s what it is, not a basic editing tool, and it’s much too expensive, and in a way over-featured for what I need to do which is to eb able to cut sound and pictures very, very fast and flexibly. With my must-haves!
I don’t really need to grade as I edit, or even do fancy sound work, and I’m much happier skipping out to a dedicated app if I need either of these. I’m always going to be happier creating motion graphics in a dedicated application and I can’t see that ever changing, and the same holds true for VFX work. Which is not to say that other people don’t absolutely need all of these fully integrated into their editing app in order to meet their clients’ needs. Again, everybody’s needs are different, sometimes very different indeed. The world of pro editing is not in any way uniform or homogeneous.
My point is, I think, if you’re designing an NLE from scratch, how are you going to correctly assess all the potential very specific ways that many, many different editors will need to go about their very varied editing tasks?
There are going to be NLE’s that just so happen to specifically and precisely address the specific editing needs of the very, very lucky few (!), and there are going to be others that give you a sufficiently wide range of editing strategies that you’re going to be able to find your always less than ideal workflow in there somewhere. For better or worse, in my world, because of the need to interchange projects in very specific ways, there are only two options currently in use – MC and FCP (as currently incarnated).
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
For better or worse, my work absolutely requires grading in a top end DI suite, usually matching back to original 2K or even 4K scans, very often with the colorist who graded the original movie – I can’t see this ever changing to a situation where I did it myself on my desktop, even though I can actually do it at the moment. I have to accept that a feature film colorist know his job far better than I do. And DI facilities currently want to trade EDLs back and forth – maybe XML is the future, who knows?
As far as OMF/AAF is concerned, this is mandatory for my audio post work. I do a lot of prep work on my own ProTools system which obviously requires my using OMF/AAF depending on whether I’m coming from Media Composer or FCP. However, again I need to be able to go into a big Dolby approved feature film mixing room for my final mix – for my work there are no options, and that’s why I absolutely have to have OMF/AAF (there are a bunch of other reasons as well which I won’t bore you with). Again, it’s not going to be happening on the desktop however cute the NLE might become. Just as with the DI stage, that big room with the big desk and the giant screen are components to the workflow that are not going away any time soon. Unless people stop going to movie theatres, that is, which I suppose is a possible scenario. I kinda think that would be a shame, though!
I think the interesting part of this is there have to be countless dedicated workflows out there depending on the kind of projects you work on. For example, I very rarely work on multi-cam projects but I can quite understand editors for whom this is a non-negotiable necessity.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
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[Aindreas Gallagher] ” apple have officially unofficially confirmed that XML OMF export has been maintained”
I’d be very interested to learn your source for that. Also do we believe that it will be fully functional? For example, iMovie has XML export support but it will only handle export of the linked audio tracks, and nothing else that you lay up comes through. Don’t get me wrong, I’d be very happy to know that your scenario was correct!