– I like being able to audition clips or portions of clips and switch those clips in and out of my project with the tap of my trackpad and leaving the other clips in place should I decide to switch back. – I like being able to mark clips and portions of clips as favorites and being able to instantly find those clips based on search terms. – I like being able to mark portions of a clip as being unusable and never having to see that section of the clip(s) again unless desired. It’s like having instant subclips available. – I like having the ability to add keywords not only to the whole clips, but any portions of a clip and having X automatically create smart collections based on those keywords. – I like how I don’t have to worry about rendering as X is smart enough to do all of that in the background when I take a break. – I like how I can start editing a project from the imported media immediately and don’t have to wait for anything to finish copying or transcoding. – I like how I can copy my SD cards to a structured folder system on my raw footage drive and then simply drop the parent folder on top of my event in X and the files are imported into my event automatically creating smart collections resulting in approximately 80% of my organizing ‘grunt” work being complete. – I like how X manages media and stores everything on the hard drive allowing me to simply unplug that drive and take it to any computer with X installed and pick up where I left off. – I like editing in the magnetic timeline, no more empty spaces between clips that I have to watch out for. Really Ron, you don’t want to get me started, do you? I like just about everything about X, with the exception of editing multiple audio angles in multiclips and Apple has promised to work on that for the next release. What say you? Take the poll below and help a brutha figure out what his next move should be. In truth, I’ll probably have to learn FCPX as well as one other NLE (which will most likely be Adobe Preimere.) If you’re in this business and not prepared for change, you ain’t going to make it the long haul. □ But now that more vets are trusting FCPX, I must say, I’m strongly considering it.Ĭhris makes a great point in my interview with him. At first I chalked it up to the fact that they’re just young. But ironically, the editors I have on my extended team all use FCPX. Certainly all the pros I may want to hire won’t use FCPX. Now that Final Cut 7 is dead, I need to decide what my new NLE of choice will be. One of the reasons I personally have been hesitant about making a switch to FCPX was because I wanted to be able to hire editors who used the same program I do. Film effects plugin developer Crumple Pop wrote a whole blog post why they were putting everything into FCPX. Tomorrow, part 2 hits iTunes and it’s a whole show dedicated to his take on FCPX. (In case you missed it, part 1 of my interview with him aired last week on my show. And more recently, 25+ year editing veteran Chris Fenwick claimed a recent major project he did for Mini Cooper couldn’t have been done without the power of FCPX. Apple now has on its site a few of case study articles from such prestigious commercial film companies and producers as and Dean Devlin. Veteran and high-end corporate video producers and companies starting to adopt it. the ability to support XML files) and they continue to work out the bugs. Apple has added a lot of key functionality that higher end pros needed (e.g. what names features had, how sequences worked, etc.)Ī lot has happened in a year. Changing the post-production paradigm (e.g.Removing high-end features (like XML or XSAN support).There were two key changes that made FCPX a problem: My film and video colleagues started jumping the FCP ship and heading for Adobe’s Premier Pro or Avid. It was more like iMovie and steroids and clearly showed Apple’s plan to move away from the high-end, sophisticated video professional, and more towards a prosumer audience. Last year when Final Cut Pro X was released, the professional film and video world cried a barbaric YAWLP at their dismay.
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