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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

NEW Final Cut to be Announced at NAB?

Alex Hastings said:
I have a company with over 10 FCP licenses, Final Cut Server, we use DVDSP and COLOR on a daily basis. Editorial has never been an issue for us, we have all the tools we need to do world class editing. We need a Final Cut Studio, we now have no future for our investment, if you don't know what that sucks, then you have no business asking me why I am complaining.
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Wow, jump to drastic conclusions much? Why don't you be a little less hyperbolic and wait until you actually use the product or at least find out more about it before you just concretely decide it's no good? The program is rewritten from scratch which means the features they mentioned are probably just scratching the surface. A 1-hour preview does not really give you enough information to make such apocalyptic remarks, IMO.
 
Good to know, thanks Chris. Hopefully they'll at least offer an easy way to uninstall old versions of a program if each new version is completely separate - my hard drive could get messy quick.
 
Looking forward to hearing how RED footage will get dealt with inside this new FCP.
 
I appreciate all the input guys
Sorry you wanted more Alex
I hope there is better news to come for you
I am just excited they are focusing
on some of the stuff that has been leaked today
And yes I hope Red workflow gets acknowledged
It was in the FCP 7 main site

Lets all just be cool
 
Not much discussion of the fact that it supports ColorSync. This could mean fairly accurate color monitoring with nothing but a decent desktop display and a $200 calibration device. Curious to get that next to a "real" calibrated video monitor and see how well it works.
 
I've actually moved over to Resolve from Color. Apple's lack of attention to all the Pro apps made me start to look elsewhere for solutions. Color's round-tripping has always been subpar- never liking multi-format timelines, lack of linking to original material, etc, etc. The whole suite suffers from a lack of unified interface. The only reason I've stuck with FCP is because of this looming update which we've been hearing about for a year or so. Resolve is a great app, and a free version also ships in June. DVDSP sucks balls. I've never hated a "pro" program more than DVDSP so I'd be happy if they left it out or also started from scratch... and included BD support.

Server is a big deal though. Lots of people use it. Hopefully FCPX will be compatible on the file-serving end or an update will also appear for that. I don't quite care for the Mac AppStore's way of doing things- especially with pro apps like this. That is, unless they have something clever up their sleeves.
 
ChrisLyon said:
I've actually moved over to Resolve from Color. Apple's lack of attention to all the Pro apps made me start to look elsewhere for solutions. Color's round-tripping has always been subpar- never liking multi-format timelines, lack of linking to original material, etc, etc. The whole suite suffers from a lack of unified interface. The only reason I've stuck with FCP is because of this looming update which we've been hearing about for a year or so. Resolve is a great app, and a free version also ships in June. DVDSP sucks balls. I've never hated a "pro" program more than DVDSP so I'd be happy if they left it out or also started from scratch... and included BD support.

Server is a big deal though. Lots of people use it. Hopefully FCPX will be compatible on the file-serving end or an update will also appear for that. I don't quite care for the Mac AppStore's way of doing things- especially with pro apps like this. That is, unless they have something clever up their sleeves.
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How was the learning curve moving over to Resolve? The UI seems a lot different to me. I'm also interested in the quality difference between the two, I know resolve is supposed produce a better image I've just never really heard the difference quantified...
 
Hey Chris, when you mention multi-format timelines... right now I've got a project with RED footage, GoPro, and 5D Mark II. Everything has been transcoded to ProRes Proxy, but do you (or anyone else) think that if I sent the FCP edit to Premiere, I'd be able to replace the ProRes Proxy GoPro and 5D footage with the camera originals, then get it all into Resolve via an EDL? The only snag is that the GoPro footage is 25p and it was transcoded to 23.976 ProRes Proxy files, as all of the RED and 5D footage is 23.976.
 
I am not at NAB, but this much is clear from the various reporting I've seen:

Nobody at the presentation said a WORD about Color, Motion, Soundtrack Pro, DVD Studio or ANY other little bit or bob in the Final Cut Studio package ... nor did they say anything at all about the Final Cut Studio package.

Seriously.

Calm down.

I don't know what Apple's plans are either ... but let's not make up the "worst case scenario" and run around babbling our fears like gospel.

For what its worth ... it looks very much like Apple took my wish list and made it manifest.

OpenCL and Grand Central, highly parallelized with all sorts of background processing from ingest to output, full 64 bit, integration of core processing bits from other applications.

What's Apple's strategy? I don't know. Maybe they'll get rid of Color or maybe they'll make it as strong as Resolve.

The only Final Cut Studio application I am willing to make a prediction about? DVD Studio Pro. That is probably gone, or at best not updated.

If you have a real need to make the plastic disks, you need Adobe Encore.

I used to care ... but no one asks me to make them disks anymore- they just want files.

Just stay calm, and look for more information before you make ANY conclusions or decisions about Final Cut Studio or any of its component applications.
 
Stephen Strangways said:
right now I've got a project with RED footage, GoPro, and 5D Mark II. Everything has been transcoded to ProRes Proxy, but do you (or anyone else) think that if I sent the FCP edit to Premiere, I'd be able to replace the ProRes Proxy GoPro and 5D footage with the camera originals, then get it all into Resolve via an EDL?
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EDLs are timecode based. 5D and (I'm guessing) GoPro footage hasn't got any. The XML importing Blackmagic demoed for Resolve 8 yesterday should be able to handle this, but you'll have to wait until June.
 
The problem is that no news about the Studio apps could mean just no news, or it could mean no Studio apps. But don't you think Apple would be aware that if they didn't mention them, people would panic that they are missing? I think it's more likely they didn't mention them because they are gone, but with Apple, you never know for certian until the press release is up.
 
I'm excited. The lack of rendering and working natively with 4k is going to save hours and disk space. As for the other apps in the suite, it's time for them to be put to rest anyway. While FCP leads in the editing apps, all the other apps have much better alternatives. AE instead of Motion. Pro Tools instead of Soundtrack Pro. Episode instead of Compressor. DaVinci Resolve instead of Color.

Honestly, if you're still using any of those other "pro" apps in the Final Cut Studio suite, you're working with inferior products anyway. Apple knows this. That's why they're smart to focus on FCP and, for those of us who want to do serious color, audio, compression, etc should use other, better alternatives in those categories. For editing, the new FCP looks like it has some great timesaving features, as well as the underlying engine to keep up with Red footage.

The funny thing is that I think the biggest thing that scares some editors about this is the price drop. There's always fear from folks that now suddenly things are more accessible to others...and they worry that it's bad for their business. I have a feeling that if Apple charged $2499 for the new FCP that it would be received differently.
 
Chris Kenny said:
EDLs are timecode based. 5D and (I'm guessing) GoPro footage hasn't got any. The XML importing Blackmagic demoed for Resolve 8 yesterday should be able to handle this, but you'll have to wait until June.
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If you transcode your 5Dmkii footage through Canon's E1 plugin for FCP then timecode is inferred from TOD embedded in the clip. Prolly not the GoPro though. You could however put all your GP footage through an FCP timeline which generates TC for you to then reuse in a fully TC timeline.

Sorry... off topic. Getting back on track...
 
Sounds like no need for RR to deal with RED ONE footage @ 4K, but with Epic on the way I may be looking at a RR2 if one is forthcoming.
 
Alex Hastings said:
I have a company with over 10 FCP licenses, Final Cut Server, we use DVDSP and COLOR on a daily basis. Editorial has never been an issue for us, we have all the tools we need to do world class editing. We need a Final Cut Studio, we now have no future for our investment, if you don't know what that sucks, then you have no business asking me why I am complaining.
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I hear ya. I'm just trying to be optimistic. I have major concerns over the next release, but I have a feeling (hoping) that some more of the old will make its way in the final build. I'm gonna wait till it release before I make my final judgements. They could have been showing us a watered down version to really highlight the differences. The official screengrab that is out looks a bit mocked up if you ask me.

http://cdn.macrumors.com/article/2011/04/13/014726-fcpscreen.jpg

014726-fcpscreen.jpg
 
FCP X looks promising.
Great advanced features, speed and metadata support.
I'll wait for my judgement after I work with it.
I hope they release more info on the rest of the studio soon.
The lack of it is driving some ppl nuts...
 
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