[Tony West]

I don’t know David.

I think it’s going to be a different answer for many people.

I don’t think that X is going to stay where it is though. They are going to keep adding to it.

What’s ironic is I’m on a mac in the first place because they made the computer more user friendly.

[Tony West]

I think the more likely future are X jobs.

A job started on X, but they want that finished by an experienced editor that knows X maybe better than them.

(Better at Motion and using the sound files than them)

[Tony West]

[Rafael Amador] “What I extracted from Carsten post is that is more important to do it easier than to get it better.”

Maybe he wants both. Maybe he wants a better looking product but an easier way to get there.

[Tony West]

I really don’t think the power of the internet can be overstated.

As much as I like working in broadcast, I really like the idea of complete independence that the net
offers. You can just put it up there and the whole world can see it 24 hours a day. People can link to it around the world.

There have always been gatekeepers for TV and film and music but with the net you just bypass them.

Look at Will Farrell with his Funny or Die stuff. Straight to the net. High end work with big name actors but complete control.
Some look at the net as a stepchild. I see it as ultimate control and freedom.

[Tony West]

[Jim Giberti] “Given the gamma nightmare that has been fcp/compressor/QT, this is really nice.”

I’m glad you posted this Jim, I noticed this right off.

I use a broadcast monitor in the field while I’m shooting, and when I bring the stuff in it looks pretty much the same as what I saw out there.

[Tony West]

OK, I see where you are coming from. Points well taken.

It’s kind of a double edge sword though right?

If they focused more on the type of tools I posted I don’t think some folks would move up to it as fast.

I still think they will have interviews with editors when they put out their next round of ads.

That ad made me at least give it a look.

I’m glad I did.

[Tony West]

[John-Michael Seng-Wheeler] “I think you have that backwards. They chose the R8 and the racetrack setting cause it looks like a pro shoot. Just the thing to market this product to consumers: “Look! we’re editing a pro product with this, don’t you want to edit your movies with a pro product?” “

I don’t think so, if that is the case then use the R8 for Imovie ads also.

Imovie is for home movies so you show home movies as source.

A person that does not cut spots has no interest in watching someone cut a spot.
A person that does cut spots wants to see how this tool would be useful in cutting one.

As a pro I’m interested in pro features and workflow also.

Speaking of pro features, do you think “non pro” folks will know how to use these features from
X ?

They have no idea what anything below is and won’t ever use them.

No reason to add control like this for home movies. No reason at all.

One of the features I like with X is I can show clients who don’t know what they want yet different options in real time before I render anything.

“Here is how that will look. Like it? No? what about this? this? this? this?

I can do that in seconds. Saves me time. I like saving time.

[Tony West]

I’m glad you posted these. What’s interesting in the X ad is the choice of source material.

They could have used any car (a Chevy perhaps) but they picked a $196,000 R8
Why not kids playing soccer if that’s what it’s for?
If you look at the Imovie ads that’s exactly what they do have as source.

It’s clear to me from that ad they want the pro market with this, unless they think average people are driving around an R8

The 7 ad is pretty interesting also. The part when the guy is bragging about being totally tapeless.
They were foreshadowing tapeless in their ads back then.

The 7 ad used top end folks because Legacy had been around long enough to have them.
X is brand new so they had to introduce the product in the ad.

The R8 was meant to rep the high end user in the future (spot for that type of car or auto racing coverage)

[Tony West]

That sounds like a decent size house with enough cash to be able to toss out all those machines and get new ones. I’m glad they are doing well.

Unfortunately many big houses in my town have closed their doors over the years. Unable to make it.

When fcp came out freelance produces who needed the big house for everything started ruff cutting their own stuff. They would just come in for finishing work. (remember when we made window burns for producers? How old does that sound?)

As the price of cameras dropped they could nickel and dime the big house on that also.
I saw the writing on the wall for this years ago.

I can see X really appealing to small budget folks. The kind that couldn’t afford to come into that type of house or just didn’t want to.

Personal choices aside, I can’t really ignore the economic realities on the ground.

X has some work to do but I can’t see it going away for that price point and what it offers in these economic times.

Time will tell.

[Tony West]

I hear you Bill,

But I include all those things when I say shooting (lighting sound and such)

I wouldn’t show up to shoot something with no sound and lights.

My point remains, most mom and pop places can’t do all that themselves yet. Still cost too much.

I think a lot of new folks can use the program though and will like it.

I don’t really think people who never shot or edited for their business will jump out there just because X came out.

Many people outside of the biz never heard of X : )