Apple's Abandonement of the Pro Market
If they were planning on supporting professionals they could have done what they did with OS X. Release FCP X as a beta, while also continuing to support FCP 7 for a time, and especially keep it available. And keep adding features to X until it was at par with 7 and then kill 7, with a definite timetable. They did it with OSX, so they could have done it here, but they are aiming for Prosumers and have abandoned the pro market completely.
All the people saying how great FCP X is, well I am glad you like it, but it is not, and will never be a professional app. Sure you can edit amazing things with it, and use it’s new very powerful features to make an incredible product or movie or whatever you are editing, but you can do that with any tool, it is just not a professional editing program and from what I see, never will be.
Kensington has awesome customer service
My discontinued Microsoft Trackball.
The Excellent Kensington Expert Mouse.
In fact before the Microsoft Mouse I always had a Kensington similar to this, even back to my Mac Classic I had an ADB model. The current model is a powerhouse with 4 buttons and an excellent scroll wheel.
Well under the ball, there are 3 little red plastic balls that the ball sits on, and one of mine came out when I was trying to clean it, and I lost it. And the ball just doesn’t track right, so I contact Kensington, and they don’t have the part, but are sending me a new trackball. And I just need to dispose of my old one! How awesome is that? THANK YOU KENSINGTON! YOU GUYS TOTALLY ROCK!
And I do love your trackball!
MacFixit at CNET has a good article on Managing Lions Resume Features
Macgasm article on FCP X
From Eugene Ho:
By releasing a program that ought to have been a step forward from the existing app, but instead was missing many features that used to be there, Apple made it so that FCP X doesn’t “just work” for many professionals. By changing the video editing paradigm, FCP X now “gets in the way” of many pros, who will now have to spend the time to learn the “new way” of video editing.
From Paul Skidmore:
People keep asking me what I think of the new Final Cut Pro. My answer has been consistent: “It’s hands down the best editing program I’ve ever used, and when it comes time to edit my short film this fall, I won’t be using it.”
Though Paul seems to think FCP X will get there, which I don’t. I think it has some very basic flaws that will preclude it from ever being a viable pro editing program, and that is why I will be getting Media Composer for $999 before the deal runs out, and I already have Premier Pro CS5.5 and have been spending a lot of time learning it.
Premiere Pro with Client in the Room Article
It is a must read for an Final Cut Pro 7 switcher. And has some great stuff on using it with an external monitor with either a Kona or a Matrox (seems Kona works better, but still has issues, especially with a long sequence).
Check it out if you get a chance. I am already making the switch to Premiere Pro CS5.5, though I am having issues with Lion, and this points out some issues I had not realized that you have to think about.
I hadn’t realized Premier Pro doesn’t have any sort of Auto Media Relinking, that each clip must be manually found. Of course with how slow Final Cut Pro 7’s could be, this might actually be faster.
No timecode window, which is a must, though was not added all that long ago to FInal Cut Pro.
Reveal in Project from Source Window! A no brainer since you can do it from the sequence!
Check out the whole article. It is worth checking out.
Adobe just blew me away! Wow!
Well for my request to add a duplicate clip showing in the timeline, I got a response! And one that points out all the features in the program that are similar. I am so impressed by this!
Hi Jonah,
Thanks for your request and feedback. I'll add your name to the list of requestors for this feature request.
Premiere has clip usage indicators, which isn't quite what you're looking for (indicators in the Timeline), but can be very useful and is a feature that neither FCP nor Avid have.
You can turn on the Video Usage and Audio Usage data columns in the Project panel (list view mode). In the flyout menu (accessed via the widget in the upper right of each panel), choose Metadata Preferences. Then either do a search for "usage", or twirl open the Premiere Pro Project Metadata section and put a check in the Video and Audio Usage properties so they'll show up in the List View of the Project panel. You can rearrange the data columns in the Project panel so you can see these usage indicator columns while you're editing. Now each time a clip is used, the usage count indicates the number of uses across all sequences in the project. For example, this is great for monitoring which clips have been used in cutaways already and which clips are unused and available.
If you need more specific usage information, here's another tip: in the Preview Area (the top of the Project panel with the thumbnail previewer and clip info), when a clip is used in any sequence, "video used x times" or "audio used x times" appears next to the video and audio type description. And if you click on the small drop-down arrow next to the usage info, a popup menu reveals a list of the sequences the selected clip is used in, with its timecode location in each sequence usage. PLUS, if you select one of these locations in the usage popup menu, that sequence is opened and the playhead is parked at the timecode where the clip is actually used. This is one of Premiere's "best kept secrets" and we're working on making the feature much more discoverable.
David Kuspa | Adobe | Sr. Experience Designer, Dynamic Media
AWESOME! Adobe you are doing something right and winning a convert. My only complaint is your level 1 tech support in India is not good at all, and doesn’t really help until you get to tier 2 for the most part.
Premiere Pro in Lion Update 2
- OK, so NVIDIA has been able to re-create the problem, and there is a workaround. You must force the Mac into 64 Bit mode (If it can handle it). This Apple Tech Support Document gives how you can do it permanently or for a single boot.
If your Mac uses the 32-bit kernel by default, but supports the 64-bit kernel, you can start up using the 64-bit kernel by holding the 6 and 4 keys during startup.
To select the 64-bit kernel for the current startup disk, use the following command in Terminal:
To select the 32-bit kernel for the current startup disk, use the following command in Terminal:sudo systemsetup -setkernelbootarchitecture x86_64
sudo systemsetup -setkernelbootarchitecture i386Studio Daily has an article in Defence of FCP X
- The article talks to people who are using FCP X and seem to think it is great, and at the very least the future of editing, but I completely don’t agree, and have to say these people are pretty insetting.
Schechtman is a little more blunt, especially when it comes to editors who have already declared their intention to abandon FCP for the competition. "If you're making a rash decision based on a product that isn't complete, you're an idiot," he says. "We all live a technical life. We all can look back at the not-so-distant past and see that we've been through this before. Don't jump ship, permanently, while someone else is rethinking the NLE for your benefit."
Insulting and ignoring much of the big picture. Like me having a 5 month job starting where we need a new Final Cut Pro editing bay because our client is a Final Cut Pro house. Well we need to buy a new system and duplicate our Black Magic setup, which is useless for AVID (at least for now) and at this point we have to buy another copy of Final Cut Studio 3 on Ebay for more than $1000, because it currently isn’t available anywhere.
And it is idiotic to say that FCP X is going to be all this and that, if it is as you say an unfinished program! What if when Adobe moved to 64 bit they made their entire suite incompatible with the previous version, and cut out most of the features people needed. People would be up in arms, as they are about Final Cut Pro X! They did not need to release an unfinished product, they had years, and could have waited to release their supposedly finished product. They released it, so it is finished, sure they may add some more features, but it is a finished product.
I spent a week learning FCP X and did not find it any faster than FCP 7 for my editing, in fact I found many features backwards, and felt I had to spend more time organizing because of the lack of ability to use tabs for folders, and organize quickly that way for easy access.
If you want to make the old paradigm better, then add to it, add the new features on top of the old, and if people like it, it will take over, but just to make their way that only way, and to require more steps to do many of the essentials features of the previous version is unacceptable!
Premiere Pro Feature Requests
- Clip Dupe Detection in the Timeline. Both AVID and Final Cut Pro 7 have this. As it is often important to not repeat shots in Commercials, the ability to see a visual representation which shows which clips are repeated is an essential feature.
- MIDI interface. With Final Cut Pro I uses a Behringer BFC-2000 to be able to do a good audio mix within Final Cut Pro using it's automation controls. This would be a perfect pairing with the Audio Mixer in Premiere, and it is frustrating that only Audition has the ability to interface with MIDI controls as I would prefer to be able to mix directly within Premiere Pro.
- In the Title Overlays Final Cut Pro includes markers for 4:3 center cut within a 16:9 project, which I am often using (HD project for SD 4:3 delivery).
- A re-sizeable, movable Timecode window, like the added to Final Cut in FCP 7.
- Reveal in project from Source monitor and not just from the sequence.
Premiere in Lion Update
Rob TInworth's 10 years with FCP
Rob Tinworth’s 10 years with FCP a retrospective at Filmmaker.com.
Oliver Peters at DigitalFilms has an article on FCPX
Unfortunately by releasing FCP X in the way it was done, Apple has destroyed the existing ecosystem built around FCP and all developers start at square one again. Some are happy for the new opportunities and others express concern. By ignoring legacy support and releasing a product with many gaps, Apple has alienated many high-end professionals. You can argue all you want that these users constitute an insignificant niche, but for developers, it’s these users who will pay thousands of dollars for capture cards, accessories and plug-in packages.
The danger of re-inventing the wheel
I have nearly four decades of experience in broadcast operations, production and post, with most of it in editing. I’ve gone through numerous transitions and along the way operated, reviewed or been associated with well over two dozen different edit platforms. One of the things I’ve seen in that time is that non-standard workflows and interfaces eventually return to accepted concepts. After all, editing tools are built on over 100 years of post production practices.
For me, FCP X simply is NOT faster nor easier, just DIFFERENT – precisely because Apple has radically changed the way an editor organizes the information and works in the timeline. I will freely admit that my nonlinear days started with Avid and I first disliked moving to FCP. Now, after eight years of mostly non-stop experience with Final Cut Pro/Final Cut Studio, FCP 7 has grown to be my preferred editing tool – warts and all. It’s incredibly versatile, but that level of user control was dropped from FCP X.
I use the timeline as much as a scratch pad as the location for a final assembly. Place multiple clips onto top tracks and preview them as one option versus another. Or build little sub-sequences at the back of the timeline and then copy & paste these into the place I want. Work rough and then clean things up. FCP 7 and Media Composer give me that freedom and precision. FCP X does not. Of course, some of this is handled through Audition clips in FCP X, but that requires that you know and select the possible options first and then combine them into an Audition clip, which can be cut onto the timeline for previewing. To me, this requires more work than I go through in all other NLEs.
My ideal NLE would likely be a mash-up between Final Cut Pro 7 and Avid Media Composer, augmented by the performance features of FCP X and Premiere Pro. It’s difficult to predict the future where Apple is concerned, so I don’t want to discount the possibility of FCP X picking up steam with my customers. If that’s true, then I’ll be there ahead of them; however, today, FCP X is the wrong tool for my projects and those of my clients.
Take the Precision Editor, as an example. This highly-promoted feature is little more than a toy in my view. Trimming in FCP X is much weaker than in FCP 7 and that version wasn’t anywhere close to having the trimming control of Media Composer. Asymmetrical trimming in FCP X is virtually non-existent. The basics, like trimming L-cuts, haven’t been properly implemented. For instance, split edits (L-cuts, J-cuts) are only based on trimming audio track in-points in FCP X, instead of either audio or video as in most other NLEs.
It’s these and many other little things throughout FCP X that will hinder its adoption by the upper tier of users. That has a cascading effect. In a film school, why adopt FCP X for your students, when they’ll encounter Avid Media Composer as the tool of choice out in the “real world”? If you teach a digital media curriculum, whose graduates are destined to work in the corporate and web arena, then isn’t Adobe Create Suite better suited? What Apple has in effect done – by rebooting Final Cut as FCP X – is to pull the rug out from under its own advances earned over twelve years of FCP development. They’ve handed an extraordinary gift to competitors who can better service these smaller, but still important, market segments.
Sorry, i Know that was a lot to quote, but all of that I find right on target.
Apple has new FCPX Videos Comparing it to AVID
Get your Library unhidden in Lion
chflags nohidden /Users/
/Library
Now if only I can change back the permissions on my Utilities folder so I can read and write...
A Quick Note: It looks like then 10.7.1 update reset this, so I guess you will have to keep making this change if you want to be able to see your library at all times.
Premiere Pro not working on Lion
It seems that there is a new NVIDIA driver in Lion, as it is listed as 270.05.05f01, while the most recent NVIDIA drivers on their web site is 256.02.25f01.
And checking the CUDA Preferences it lists the current CUDA Driver 4.0.19 but says an Update is Required (though it is the latest CUDA for Mac Driver on NVIDIA's Web site).
Since this is the relevant part of the crash log, it looks like a driver crash to me, but the driver info is the 270.05.00 NVIDIA Driver.
0 libcuda_270.05.00.dylib 0x000000011769286f cuGraphicsGLRegisterImage + 4359831 libcuda_270.05.00.dylib 0x00000001176c1e25 cuGraphicsGLRegisterImage + 6299572 libcuda_270.05.00.dylib 0x000000011766efa9 cuGraphicsGLRegisterImage + 2903773 libcuda_270.05.00.dylib 0x0000000117669a8b cuGraphicsGLRegisterImage + 2685874 libcuda_270.05.00.dylib 0x0000000117671b0c cuGraphicsGLRegisterImage + 3014845 libcuda_270.05.00.dylib 0x000000011766e2a7 cuGraphicsGLRegisterImage + 2870476 libcuda_270.05.00.dylib 0x00000001176372f2 cuGraphicsGLRegisterImage + 618427 libcuda_270.05.00.dylib 0x0000000117637caf cuGraphicsGLRegisterImage + 643358 libcuda_270.05.00.dylib 0x00000001176d83c8 cudbgGetAPIVersion + 869529 libcuda_270.05.00.dylib 0x000000011762715c cuGLCtxCreate_v2 + 10810 com.adobe.GPUFoundation.framework 0x000000010cf3fe4c GF:
evice::InitializeContextAndLoadKernels() + 194811 com.adobe.dvacore.framework 0x0000000100190b3e dvacore::threads::ExecuteTopLevelFunction(dvacore::threads::Allocated FunctionT > const&) + 4612 com.adobe.dvacore.framework 0x0000000100190438 dvacore::threads:
anonymous namespace)::WrapGCDAsyncCall(void*) + 2413 libdispatch.dylib 0x00007fff8f9887e9 _dispatch_worker_thread2 + 25514 libsystem_c.dylib 0x00007fff8b2913da _pthread_wqthread + 31615 libsystem_c.dylib 0x00007fff8b292b85 start_wqthread + 13 This looks like it is a driver issue with the new Lion Drivers for the Geforce GTX 285.
The only way I was able to get Premiere to launch was getting rid of the 5.5 folder from the Application Support:Adobe:Premiere Pro: folder. The program launched, but would not show any video in the sequence or from any clips, and once I quit the program, when I tried to relaunch I got the same crash again.
Here is my Thread at Adobe forums on the matter. I also called Adobe Tech supper and got a case number. They had me install the older driver from NVIDIA’s web site, but that froze my Mac at the spinning wheel (the wheel just kept going and going) so I had to do a restore using Command-R. It works, but is slow as it has to re-download the Lion install.
Editing Software on Lion
As Apple Said Final Cut Pro 7.0.3 does open fine in Lion, though it does ask me to register, though the button to register is grayed out.
The Demo of AVID Media Composer 5.5.2 boots and runs just fine.
Adobe Premiere Pro 5.5 I am having issues with. and it won’t start. Adobe claims it should run fine, so I am going to try and re-install and see what happens. It is weird as After Effects and Photoshop work fine, but just Premiere won’t boot.
What I don't like about OS X Lion So far
I hate the new scroll bars and how they disappear, and even though you can make them always show up, I hate the removal of the arrows at the ends. I was always a fan of double arrows at both ends, but to not have them at all is stupid.
I don’t like the new Address book, as it is harder to add an entry and then add it to a group as it is on 2 different pages and takes extra steps to do so.
The death of Power PC apps completely is annoying, though only affects one app I have, which was an app that published my now playing song in iTunes to my FTP server. I will have to find a reasonable alternative.
The death of the spaces control panel. I for one use spaces all the time, and I love it. I have different screens for Final Cut Pro, Premiere Pro, After Effects and Photoshop, and could easily use the spaces control panel to pick which app showed up where, and have some apps show up everywhere, like Safari and iTunes. Now this has been taken away. At least it still remembers my old settings (though I had to turn off the auto rearranging of spaces which just confused things). I get mission control, but I would love to be able to name my spaces, and once again have real control over what apps show up where. Hopefully someone will release a 3rd party app to return this functionality. I mean I am glad it remembered my old Spaces settings, but not being able to easily change them is a real pain.
Not sure I like the new Mail. I was fine with how it was, and think it actually shows less info now than it did before, but at least the classic view is still available, so i can switch back if it really annoys me.
Launchpad is useless to me, and I have way too many apps for it, but might be nice for a novice user.
I am sure I will have more as I use it.
For a thorough review check out Ars-Technica’s Extensive Review, which you can also get in ebook or pdf format, though you will have to pay for it to get it in those formats.
EDIT:
I have some additions. I don’t like that in Finder windows the custom icons for hard drives no longer show up. I use custom hard drive icons for a reason for easy visual identification of drives, and not having this just slows things down.
I hate that the user library is now a hidden file, as I want to be able to go there if I need to easily. And the Utilities folder now requires administrator privileges to make changes, and strangely it won’t let me add myself in the info panel. Hopefully this is just a bug, because I trust myself with my own Utilities folder!
Another thing I hate. The ability to turn off the backwards scrolling requires either a Trackpad or a magic mouse! Well what if you only have a 3rd party mouse? That needs to be settable no matter what!
I find the Address book to be a major step backward, as it takes extra steps to do what it could do before. To add a new entry you must be within a group, but to add an entry to different groups, you have to click to see groups. I would rather have a 3 way window pane than a 2 way pane as it is now.
ADDITIONAL:
I don’t know if it is because I use a third party mouse driver (SteerMouse from Japan which I have used to enable a third mouse button on my EOL Microsoft Trackball Explorer, the best trackball ever made, which I used when using Shake and Color, both of which I probably won’t be using anymore) or if it is a feature of Lion, but moving the mouse no longer wakes my computer up. I have to hit the keyboard, which is just annoying! Is this a feature?
The Edit Blog at PVC has 100 Questions answered about FCPX
In its current state I would not use FCPX in a professional, client heavy environment. At this time I don’t consider it an FCP7 replacement as it lacks so many features that I’ve come to rely on. It’s a brand new piece of software so it will take years to mature into the full featured application that FCP7 is ... that is if Apple chooses to add back a lot of the features missing from FCP7. At this point in time I don’t know when / if it could replace FCP7 (or Avid Media Composer or Adobe Premiere Pro).
and
23) Do you think Apple is moving away from the Pro Video market towards the wider prosumer market with FCPX.
Most definitely.
and
51) Does your knowledge of FC7 help or get in the way of learning FC10?
That’s a great question. I’d almost say it gets in the way as FCP7 uses long established editing paradigms that work very well. In some aspects FCPX is trying to reinvent the wheel. Where there are some great things in FCPX there’s other instances where, IMHO, the wheel doesn’t really need to be reinvented because it works so well.
and
63) how does the magnetic timeline handle a music video where the main audio should be locked permanently?
My music video testing has found that I would create a synchronized clip with the master audio to place in the primary storyline and then connect all my angles to it via Connect to Primary Storyline. In theory that should keep them all in sync. Truth be told the inability to really lock a clip in place and lack of multiclips / group clips would make me look elsewhere for music video editing.
and
77) Worthwhile building new edit suite around FCPX or still shrink-wrapped FCPStudio 7… etc?
Personally I would never build an edit suite around a single NLE so I certainly don’t feel the current release of FCPX is enough to build an entire edit suite around. As one tool in that suite yes but the only tool? Not in its current form and probably not for a long while. Plus, if Apple is going to rely on 3rd parties to supply many of the pro-workflow tools that we need for FCPX then the final cost is going to end up well above $299 to run FCPX in a professional / broadcast environment.
and
83) What’s your favorite new feature, and new disappointment?
Favorite new features are the many different background processes from rendering to transcoding to media management. Auditions is another strong new feature. Disappointment is the Magnetic Timeline and single Viewer that changes between source clips and the timeline.
The rest has some interesting points, and tells how to do may good things, but these are things that really stand out to me about what is wrong with the software.
Dylan Reeve says Apple has Abanonded Pros
This is how he ends the article:
Businesses in the film and TV industry, that have to deliver a product to a strict standard within a strict deadline, can’t pin their hopes on a future upgrades or the next version while relying on an increasingly ageing product that has been EOL’ed. They need certainty and at the moment the only certainty that exists with FCP is that the current version has no future hopes and the current version isn’t suitable for their work. They have no choice but to look elsewhere.
It simply makes no financial sense for Apple – selling a $300 product that appeals, as is, to millions of people – to pursue a small market with very specific and complicated demands.
In the end Final Cut Pro X will be a success, it is a powerful and innovative application. But it will no longer be a big part of the film and TV post-production industry.
FCP X will work for a lot of the smaller people, and will eventually, with a slew of plugs in (driving it’s price right back up to what it used to be) will do even more, but it will never be the the pro app that it once was. Apple has nixed that market, and it is just too bad they don’t have the decency to rename FCP X into iMovie Pro to show that they really are going a completely new direction and instantly saying to all pros that they need to find another home, instead of doing it in such a backhanded way.
Dylan Reeve and the FCP X Disconnect
He has some excellent graphs that show what he thinks is the potential market for FCP and how Apple just doesn’t see it as an important segment of it’s market, because it is so incredibly small, and I completely agree.
Apple is going lowest common denominator, and it can even be seen in Lion. Making everything more iOS like, instead of making iOS more mac like, because iOS is great for portable devices, but too simple, but they want to make the mac more like iOS and that personally scares me.
Avid Event gives some tantalizing clues
There is some pretty amazing stuff here. LiveToEdit tweets:
3D, 7.1, new U.I., Kona, Decklink, Matrox, Bluefish support coming soon
and
3rd party I/O: no announcements, other than ‘we’re working with them for the future’
and
80% of pro systems are Avid, 50% of #Avid employees used to be in production
And even cooler
future is 64bit, new interface, WILL NOT lose known features, keyboard short cuts, etc.
And @comebackshane has this interesting tidbit.
Third party hardware support (Matrox, AJA, BMD, MOTU)...Plugin support from more vendors (Red Giant)...external control surfaces… #avid
And thanks to Pietari Creative for this awesome pic of the possible AVID Media Composer 64 Bit Interface.
•••••••••••
Pretty amazing news, though no timeline given. Still I love the look of the new interface, especially if is fully 64 bit, and does not lose all the features of previous AVID (see it can be done Apple).
And Black Magic and AJA support is huge, as is Red Giant Support, does that mean we may be getting Collorista 2 for AVID soon? Awesome.
It can’t come soon enough!
Intelligent Assistance has a great new Event Manager for FXPX
Mathew Levie comments on the Magnetic Timeline
Which brings me back to where I was on day two: the "magnetic timeline" is cute, but it keeps me from making the sequence I want and therefore it really has to go.
It reminds me a little bit of when Apple was introducing FCP 1.0 and Steve Jobs showed us how we could take a clip from the Viewer and drop it on this beautiful transparent overlay in the Canvas to choose insert/overwrite/replace/etc. and the crowd went, "oooooooh." But who edits that way?
Maybe you'll say I didn't give it enough of a chance. That might be fair. I just played around with it for a few days. But the truth is that we have an editing paradigm that works for us in FCP 7. It's not enough to show us that if we completely rethink our workflow then we can do the same things in FCP X as we can in FCP 7 with a couple of extra steps. What can we do that's more efficient, faster, better? Yes, the infrastructure is improved; yes, the 64-bit implementation and background rendering mean things will be much faster... if we can still figure out a way to tell the stories we want to tell.
In conclusion, I think if Apple's FCP X team really is serious about wanting professionals to use this program -- and maybe they're not, and that's okay -- we will need to see it go back to a track-based editing metaphor, at least as an option. If that happens, I can't see why I wouldn't use it eventually. I don't really care about the feature set: they can always add multicam and OMF export and whatever else, and I'm sure they will. But if they add those features while retaining the current editing paradigm, it will still be very difficult to use professionally.
My biggest complaint about FXP X is that I think the basic editing paradigm is broken and much too simplistic for a professional editing program. The magnetic timeline is what the program is built around and for me it makes things harder and not easier, as Matthew points out, it actually makes many things take more steps than they did in Final Cut Pro 7.
Sure there are some cool new features, but we would have been better off having those added to a 64 bit upgrade to Final Cut Pro 7 and not this monstrosity that is Final Cut Pro X.
Apple has obviously given up on the professional editing market and done it in the most insulting way possible, and I don’t think they realized the bad press and loss of sales they will get for not taking their professional market seriously.
Larry Jordan is sticking with FCP
I personally disagree. Apple had a mature and powerful editing program that could have been updated and have had some of the great new features added to it, but instead they decided to make a new less powerful program geared at making editing ‘easier’. The thing is they are engineers and have no idea what editing is really about, and have instead made a program that I don’t think will ever be right for a professional editor. The magnetic timeline alone proves this to me, because they no longer think that organization is important, and it is one of the most important things!
Larry Jordan has a nice post on Accountability
And it really is true. No is accountable, and Apple would hold everyone accountable if things were revered. Nvidia made one mistake and look they have not been in a mac since, and we the users are punished by Apple for it (having to put our ATI cards back in for major upgrades and then re-install the NVIDIA drivers).
I am knee deep into learning Premier Pro (after trying, but giving up on FCP X) and am pretty impressed by many features (especially the XML export being able to do the whole project with all sequences), but can’t see why this was even necessary! I can see that Apple might have wanted to cement their lead in the future, but not at the expense of their entire installed user base who are going to bad mouth the hell out of their new product until they make something useful.
And why buy Color, just to kill it a few years later? Or why kill Shake? Why did they not spin off their entire pro-division like they did with FileMaker Pro? Make a business unit that is answerable to it’s base. and needs to make a product that it’s customers want!
I am left shaking my head.
Alex 4D posted a new FXP X Effect
If you are using FCP X, download it for sure.
ProVideoCoalition has a good article on FXP X
Sooo ... IF Apple loses 10% of the 200,000 high-end editors (and I think this is generous … the real number is probably near 50,000) but gains these markets, will it be an even trade? No, not at all—each of these markets is 10 times the size of the current high-end editing market. If only a small percentage buy FCPX, Apple’s installed base will double, and quickly. Almost every person I’ve talked to in these areas are excited about the new release. They don’t want or need EDLs or multicam edits, they just want to cut their story together quickly.
In the long term, the future is more fuzzy. Apple stands to gain and hold the bottom 90% of the pyramid—if they are able to develop the application effectively. This 90% will begin to put pressure on the top 10%. We’ll just have to see how committed Apple is to the future. For the many that will be entering the market with Final Cut Pro X… getting in now means that they can learn a simple application and grow with it… like many of us did with Photoshop over 20 years. It was simple when in started, really.
And I think they will lose a lot more of 10% of the provideo market, more like 90%, but yes I admit it is a small portion of the market that Apple probably could care less about. They are shooting for the other 90% and FCP X does have some great features for them, but at the cost of making a program that will not work fro the pro-editors.
And honestly they have lost our trust completely! I mean just killing Color, an Amazing HIgh End color correction program is so arrogant it is ridiculous. And sure we could move to DaVinci from Black Magic, but that is $1000 with another $1600 for the control board, and Color was included in the FCP Studio Suite!
Studio Daily has an excellent review of Final Cut Pro X
iMovie on Steroids? MaybeAfter using FCPX for a few weeks I still believe what many initially thought upon first seeing FCPX back in April: This is just the first version of a new application and in this form is essentially iMovie on steroids. There are just too many things that Final Cut Pro 7 users will be missing when they really dig into FCPX. It's not that we won't be able to make cool effects and pretty video, it's just that we'll do it in a much different way without some tools that we now take for granted. Word from people who are smarter than I am say that FCPX isn't built off of current iMovie code. I still find that hard to believe, as the similarities are striking. If they aren't based on the same code then Apple made a very conscious, very clear and very targeted decision to copy an awful lot of what's in iMovie now. Some of it is actually for the better but a lot of it is for the worse.
And
•No More Dual-Monitors: Also gone is the more traditional FCP7-like Viewer/Canvas two-monitor layout. The viewing window changes to the timeline or the clip events depending on what you’re doing. In my time with the new software, I have come to really, really miss that two window layout.
And
There is the option of importing from tape, but that's only from a tape-based camera and only via FireWire. Why Apple included only FireWire camera support is perplexing. It seems downright silly to rewrite FireWire tape support for FCPX and not include something like multi-clipping, especially when it feels like you approach something close to multi-clips when you use the new Synchronize Clips feature and have it sync multiple camera angles. Sure, the resources for FireWire support might be vastly different than support for third-party I/O hardware (which isn’t supported out of the box) but FireWire support for DV and HDV? Really? When Apple, and an entire industry, is moving away from FireWire?
And
When media comes into FCPX it must be associated with an Event or dropped into a new Event created upon import. Forget about project-based media; everything here is based on Events. In fact, all the media you’ve ever imported is available all the time. This feature alone can be totally amazing and/or insanely frustrating; I experienced both feelings when using FCPX. There are definitely times I don't want media from other projects available, especially in a professional environment, where you can have hundreds of hours of media from different clients on your media drive. Conceptually, it’s an interesting idea for the right environment but in practice FCPX desperately needs some type of "Event Media Mounting Manager" to keep unrelated media from intruding on an unrelated project. You can physically move the media in the Mac Finder to hide it from FCPX but isn’t this an application for the future? That seems really antiquated.
And
This type of project setup, and the more structured way FCPX stores and tracks media, reminds me very much of Avid Media Composer. Media Composer has always been great at both media management and mixing formats. Avid's often been chastised by FCP users for it's structured, less free-flowing way of working, but Apple is doing something very similar now in FCPX.
And
The timeline has done away with video and audio tracks as we know them and therefore, it’s a very free form way of working. The magnetic timeline means clips move out of the way where clip collisions might have happened in FCP7. This new, freer way of editing will suit some; others it will not. I like quite a lot of what Apple is trying to do to make editing faster and better, but there are other things in FCPX that really don’t make the overall editing experience any faster or better. You really have to try it yourself, which makes it rather frustrating that there isn’t a free demo available.
and
My fear is this free-form timeline will lead to some real sloppy jobs coming in the door if FCPX catches on.
And summing up
The new Media management in FCPX may seem to offer more options to editors, but it actually uses a very rigid, specific way to store clips, renders and projects. If you were a sloppy editor in FCP7, then you’ll be fine in FCPX, at first. But if you don’t really understand how FCPX organizes your media you might be in for some trouble if files get moved and drives get shuffled.
I hate how there’s no real dedicated Viewer window when I skim those source clips.I hate how imprecise much of the actual editing process has become in the magnetic timeline.
And finally
How much real-world editor feedback did Apple really get before this came to market? Even though some very high profile editors got a chance to evaluate it before the release, I'm more inclined to think it was designed by a bunch of engineers who don’t actually edit for a living. Either way, it just feels unfinished. I won’t be implementing it with my paying clients as of this version, and probably not for a few versions to come. But I’ll happily bang out home movies with it.
And yes he also does have good stuff to say, but it is the negative to me that is the most telling. This is not a pro app, and the way it is built I don’t think it will ever be. Sure kids who have never edited might love it, but forcing editors to work in one way that is not proven to be better is not necessarily a better way, just different, and for this different, I am not sure I agree.
Alex4D writes about a secret FCP X meeting in London
Personally Apple needs to come out and just say this stuff if it is true, and tell people what will be paid and what is coming, and give a timeline.
And anyway I think it may be too little too late. Apple has screwed this release completely. Any program that cannot open it’s previous versions files should not be called the same thing. If it is not iMovie code (which I don’t believe) then call it iEdit Pro,
Here are some point from the meeting:
1. FCP XML in/out is coming via 3rd party soon…no FCP 6/7 support project support coming ever it seems…
2. Ability to buy FCP7 licenses for enterprise deployments coming in the next few weeks…
3. FCPX EDL import/export coming soon…
4. FCPX AJA plugins coming soon for tape capture and layback…capture straight into FCPX bins.
5. XSAN support for FCPX coming in the next few weeks…
6. FCPX Broadcast video output via #Blackmagic & @AJAVideo coming soon…
7. Additional codec support for FCPX via 3rd Parties coming soon…
8. Customizable sequence TC in FCPX for master exports coming soon…
9. Some FCPX updates will be free some will cost…
And
conigs Do they have any kind of timeframe for “soon”? Am I safe in guessing in 2011?aPostEngineer within a few weeks for some updates i.e. XSAN up to a few months for 3rd party developers to get their heads around the API.gigarafa what about the rest of the suite? Color, dvd studio etc?aPostEngineer they have unfortunately reached their EOL and will not be developed any more..
So Color and DVD Studio are officially dead as well.
Helmut Kobler has an excellent article on being a Final Cuttter moving to Premiere Pro
Yes, well before all of Apple's recent shenanigans, I started to sense that Final Cut, along with all of Apple's professional apps and gear, was slowly being strangled to death. Here are a few of the harbingers of doom that caught my eye over recent years:
• Apple took nearly 2.5 years to upgrade Final Cut Studio from version 2 to 3 (and v.3 was only a moderate upgrade at that). Until then, updates had come at a much more aggressive pace.
Apple cancelled the popular Shake, promising to replace it with a new tool that never came.
• Apple got lazy with its Logic Pro app as well, letting development creep along with an upgrade about every two years.
• Apple stopped updating the Pro page on its web site long ago. There hasn't been a new item posted in almost two years: http://www.apple.com/pro/
Apple took more than a year to fix a glaring Final Cut 7 bug that made its Close Gap command unreliable. To break a core Timeline feature like Close Gap and not fix it for 14 months was offensive and inexcusable.
• Apple cancelled its Xserve RAID then its Xserve hardware.
• Apple started taking longer and longer to release Mac Pro workstations, and absolutely phoned in the latest upgrade last July. 511 days in the making, the newest Mac Pro was one of the most un-inspired hardware upgrades I've ever seen from Apple.
• Apple pulled out of industry trade events like NAB.
• Multiple rumors (and confirmation of rumors) of significant layoffs in the Pro Apps division.
• Multiple rumors that Apple was trying to sell off its Pro Apps division.
Take just a few of these and maybe they don't add up to anything. But take all of them together, and it's a real sign of Apple's low-to-non-existent priority for professional media. Yes, the writing has been on the wall for quite a while, and by 2010, I reluctantly began to read it. Late last year, I started to look at the two clear alternatives to Final Cut....
The rest of the article has some excellent reasons why he moved to Premiere, and documents the differences and similarities, and really gives a good idea of why to try out Premiere Pro, it really is a must read!
Techvessel has an interview with a former Avid Employee on FCP X
It’s hard to say exactly what Apple’s strategy was with their release of FCPX. Its announcement at the NAB convention seems to suggest that they were trying to get professional editors excited about FCPX, yet the lack of support and backwards compatibility with FCP7 shows either a disconnect, or outright disregard for the realities of being a professional editor.
This release feels similar to their previous iMovie reboot. In that case, I think Apple could afford to be more aggressive with abandoning the previous version of iMovie and starting from scratch. Many iMovie users probably don’t use it on a daily basis, so throwing out their previous experience with an older version and starting over really wasn’t that big of a deal.
For *professional* editors, this is an entirely different scenario. Pro editors use their software of choice all day, every day. They become masters at shortcuts and UI tricks to make them effective. If you’ve never seen a *good* professional editor at work, I can tell you it’s amazing. The speed and precision in which they work is staggering. They can do this because they’ve spent countless hours training on and mastering their tools. That’s why it’s unreasonable to expect that Pros would jump on board with FCPX on day one.
and
What happens if you’re currently on a project using FCP7, and you need to bring some new people on board to help finish the project? You’d better hope they already have a copy of the software, since now you can’t buy FCP7 any longer. I’m not sure what you do in that scenario. I think it’s these kinds of issues that show a lack of respect for the Pro editor that has gotten the community so riled up.
and
The bigger concern I would have if I were at Avid would be that it appears Apple is again trying to leapfrog their competition with a new paradigm for video editing. Avid’s interface was already showing its age, and now it’s only going to appear more antiquated in the eyes of young editors growing up on FCPX. Maybe Avid doesn’t necessarily see that as a big deal – they have their loyal users who aren’t going to switch and they know it. Remember also that Avid doesn’t make their money from the editor software alone – they also have big enterprise server systems that manage large amounts of media and also do things like big newsroom automation systems. These are things that Apple are not likely to compete with. However, in all those kinds of systems, the lynchpin is the Editor, and if none of the younger editors know how to use, or don’t care to learn Avid, that’s a big long-term problem.
As I said I don’t fully agree, as I don’t see FCP X really taking off in the condition it is in, and I believe some of it’s basic paradigms are so flawed (the magnetic timeline being one) that I don’t see this being the choice for young editors if they actually expect to work in a professional environment.
Premiere Pro Needed Feature
The ability to cut remotely and show your cut and see the producer and let them see you was an amazing addition by Apple, and something that really needs to be added into Premiere to bring it on par with Final Cut Pro 7.
Final Cut Pro X Audio Crossfades when you put on a Dissolve
Neptune Salad has a great article on switching to Premiere Pro
But the real question anyone who edits is this: What are we going to do right now? I mean what are we actually going to do? As professionals, we don’t have the time to play around with multiple new programs until this dust settles as it could be months, and it might take Apple over a year to put FCP back on track.
And
Honestly, I’m not excited about moving to a new platform. This will be my third (Media 100, Final Cut Pro, now this – go ahead and laugh, Avid users). But the integration of AfterEffects (which is becoming a must-have item for filmmakers, see www.videocopilot.net to understand my zeal) and Photoshop make it an attractive one-two knockout punch.
Kind of how I feel, though he did not get a refund on Final Cut Pro X, and I did, but we both are making the move to Premiere Pro.
Is Final Cut Pro X annoying?
I have to say that the magnetic timeline's "primary storyline/connected storyline" paradigm just does not work for me yet. The concept is this: think of a documentary. The interviews are your "primary storyline," and the music, titles, and B-roll are your "connected storylines."
In theory this is very cool, because a particular piece of B-roll is "connected" to a particular piece of interview in a particular place, and you can reorganize the interviews and the associated B-roll comes with them.
In practice it's really annoying. It assumes that you always have a block of footage that starts and ends with a cut-in video and audio simultaneously, which I actually almost never do.
And
The magnetic timeline also irritates me because I'm a strong proponent of track discipline. If I put something on V2, it's there for a reason. But in the magnetic timeline, items on subordinate tracks just jump up and down all over the place. Your music might be towards the top here and towards the bottom there. I suspect that in a complicated project, it will become impossible to find a given element.
Something I despise: the loss of Reconnect Media. Not having that on Avid was one of the worst things about it, and losing it on FCP hurts. A file suddenly went offline for no reason -- I hadn't moved it -- and I was just hosed. That sucks.
I tend to agree, and have returned my FCP X because of it. Track Discipline is the biggest thing ever for an editor, and without it, I can’t edit!
Looks like Premiere is how I am going
The thing is the CUDA support with the NVIDIA card is unbelievably fast, and the integration with After Effects plug-ins makes it so usefull.
Adobe having 50% off sale!
You can see the deal here.
Wow, they are pushing hard to take over the hole left by the death of Final Cut Pro 7, and with deals like this, they might just pull it off!
iMovie and FCPX were originally built as a companion to Final Cut Pro
Ubillos returned from vacation and found that Final Cut wasn't ideal for organizing raw footage. From that experience, First Cut was born which would let you import your raw footage and quickly skip through, organizing and building a rough edit. The intention originally was to then export to Final Cut Pro. At some point, Apple officially latched onto the project and turned it into the new iMovie '08.
No wonder so many features seem shoehorned, it was meant to just create quick rough cuts, not to be the whole editor!
Former Shake Employee says Apple doesn't care about Pro Market
I love what he has to say:
And back then the same questions were being asked as now – “Doesn’t Apple care about the professional market?”
In a word, no. Not really. Not enough to focus on it as a primary business.
Brinkman goes on to explain that there are maybe 10,000 "high-end" editors in the world while the market for an easier to use more casual product is "at least an order of magnitude larger". The market size, however, isn't necessarily the only reason. Brinkmann offers an interesting anecdote about how the high end market tends to be 90% driven by product requests from the big customers. Apple doesn't work that way:
After the acquisition I remember sitting in a roomful of Hollywood VFX pros where Steve told everybody point-blank that we/Apple were going to focus on giving them powerful tools that were far more cost-effective than what they were accustomed to… but that the relationship between them and Apple wasn’t going to be something where they’d be driving product direction anymore. Didn’t go over particularly well, incidentally, but I don’t think that concerned Steve overmuch…
Apple's hierarchy is also described as one in which easily demo-able features tend to be easier to promote within the organization. He goes on to say that in the case of FCP, Apple would rather introduce more easy to use features for the broader audience even if it means pushing out some items for high end editors.