Welcome to our community

Be a part of something great, join today!

Register Log in
  • 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 :)

Ok, I will take the heat. FCPX 10.3 works. Check this video

Marc Wielage said:
$399 with Motion and Compressor, which are mandatory for many users. They used to be free, but Apple split them out from the program.
Click to expand...

I still use Soundtrack Pro because I've yet to learn how FCPX can do the same things. But you've echoed my sentiments and is why I have FCP7, Premiere and FCPX all on the same machine.
 
Mark Phelan said:
I still use Soundtrack Pro because I've yet to learn how FCPX can do the same things. But you've echoed my sentiments and is why I have FCP7, Premiere and FCPX all on the same machine.
Click to expand...

It interfaces really well with Logic X. I export my sequences as FCPX XML and then use Pro Audio convert to create an AAC file to import into LOGIC X.

Great combo.

David
 
Motion and Compressor may be "mandatory" for a few users but the vast majority of those editing on FCPX never get into this programs. And, the applications were never "free," they were just components of a $999 package; it's not like you could get them just by going to the Apple web site. So, yes, if you must have them, you pay a whopping $50 extra for each; equal to a one month's subscription for Adobe. I'll bet a whole lot of the people who don't need them prefer it this way.

I totally "get" that people are perfectly comfortable and happy with their current Avid and Premiere solutions. If you don't see any shortcomings and you are conversant with the strengths and weakness of your current process, and it gets the job done for you, you just might not want to change.

What I don't "get" is the dismissiveness and bashing that goes on from the Avid and Premiere folks toward FCPX, especially when 90% of them have either never used it or tried it for 10 minutes and then pronounced it "unprofessional." Why not just have that same agnostic attitude and declare it - "just another solution." You absolutely have to take time to adapt the way you think and work in order to make FCPX work for you. If you don't want to do that, fine. But don't expect to even understand why it is that others find it a better solution.

FCPX is, more and more, finding its way into Hollywood level productions but, IMO, it's real sweet spot is with the independent world outside of Hollywood, where legacy systems aren't going to pollute the pond. That and broadcast and the many, many corporate projects that are out there.

As for the "hoops" gone though for Focus, then Whiskey Tango, Foxtrot; if you actually listen to the folks involved in those projects, you'd hear them describe a process of innovation and adaptation but each project gets better and they are enthusiastic about it. The so-called "hoops" have more to do with the ingrained inefficiencies of the legacy systems that the team had to fit into than with the shortcomings of the program itself. Their process was hugely innovative and the evolution continues. When you hear the production team speak, you hear a chorus of people who do NOT want to go back to Avid.

Mike Matzdorf said recently in a presentation that he was getting to the point where he would turn down gigs if he couldn't use FCPX simply because he found the time wasted with another NLE to be too frustrating. You will be seeing FCPX more and more on large and highly visible productions. Google Michael Cioni or Sam Mestman or spend some time visiting FCP.CO and you will get a sense for just how broadly FCPX is fitting in to film, broadcast and corporate work.
 
David Battistella said:
It interfaces really well with Logic X. I export my sequences as FCPX XML and then use Pro Audio convert to create an AAC file to import into LOGIC X.

Great combo.

David
Click to expand...

This sounds like the best route for me too. I have LOGIC X, but haven't taken the time to find a way to interface the power on tap there with FCPX.
 
Terry VerHaar said:
Motion and Compressor may be "mandatory" for a few users but the vast majority of those editing on FCPX never get into this programs. And, the applications were never "free," they were just components of a $999 package; it's not like you could get them just by going to the Apple web site. So, yes, if you must have them, you pay a whopping $50 extra for each; equal to a one month's subscription for Adobe. I'll bet a whole lot of the people who don't need them prefer it this way.

I totally "get" that people are perfectly comfortable and happy with their current Avid and Premiere solutions. If you don't see any shortcomings and you are conversant with the strengths and weakness of your current process, and it gets the job done for you, you just might not want to change.

What I don't "get" is the dismissiveness and bashing that goes on from the Avid and Premiere folks toward FCPX, especially when 90% of them have either never used it or tried it for 10 minutes and then pronounced it "unprofessional." Why not just have that same agnostic attitude and declare it - "just another solution." You absolutely have to take time to adapt the way you think and work in order to make FCPX work for you. If you don't want to do that, fine. But don't expect to even understand why it is that others find it a better solution.

FCPX is, more and more, finding its way into Hollywood level productions but, IMO, it's real sweet spot is with the independent world outside of Hollywood, where legacy systems aren't going to pollute the pond. That and broadcast and the many, many corporate projects that are out there.

As for the "hoops" gone though for Focus, then Whiskey Tango, Foxtrot; if you actually listen to the folks involved in those projects, you'd hear them describe a process of innovation and adaptation but each project gets better and they are enthusiastic about it. The so-called "hoops" have more to do with the ingrained inefficiencies of the legacy systems that the team had to fit into than with the shortcomings of the program itself. Their process was hugely innovative and the evolution continues. When you hear the production team speak, you hear a chorus of people who do NOT want to go back to Avid.

Mike Matzdorf said recently in a presentation that he was getting to the point where he would turn down gigs if he couldn't use FCPX simply because he found the time wasted with another NLE to be too frustrating. You will be seeing FCPX more and more on large and highly visible productions. Google Michael Cioni or Sam Mestman or spend some time visiting FCP.CO and you will get a sense for just how broadly FCPX is fitting in to film, broadcast and corporate work.
Click to expand...

Fantastic post.
 
Patrick Southern said:
Then advances from 'Focus' to 'Whiskey Tango Foxtrot' were huge. And now, with FCPX 10.3, working on a feature is even easier. We just did a presentation at LACPUG talking about a few of the advancements available in the update for collaborative workflow.


http://www.fcp.co/final-cut-pro/tut...-from-the-los-angeles-creative-pro-user-group
Click to expand...

Hey, Patrick, welcome to REDuser!! Sam wasn't able to persuade you to avoid the "lion's den" here? (Stay strong. You guys are doing it right!) :thumbup:
 
Terry VerHaar said:
Hey, Patrick, welcome to REDuser!! Sam wasn't able to persuade you to avoid the "lion's den" here? (Stay strong. You guys are doing it right!) :thumbup:
Click to expand...

Ditto
 
I loved editing in FCPX, but was not so happy with the hardware limitations that Apple has.
For editing you may not need super fast hardware if everything is transcoded so I guess in theory you could have 1 apple for editing and another one for color grading for example.
Still FCPX was mostly very enjoyable and fun to edit with. I especially liked the meta tagging and how they visually represent the videos.
/Andreas
 
Marc Wielage said:
There are things I like a lot about FCPX -- particularly its metadata handling -- but I really dislike the quirky user interface. FCP7 I understand, Avid I can tolerate, and Premiere makes relative sense. I'm not sure I see the point for FCPX unless you're just seduced by a program that costs $399 out the door.
Click to expand...

I came from Premiere land, and for a while I found the interface a bit unusual, and it took me a while to work it out. But after I'd put in the work to fully 'get' it, I feel like now I can edit twice as fast as I used to be able to in Premiere.

It was definitely not great before around 10.1 (2013), but since then it's become my favourite NLE.
 
Stephen Gentle said:
I came from Premiere land, and for a while I found the interface a bit unusual, and it took me a while to work it out. But after I'd put in the work to fully 'get' it, I feel like now I can edit twice as fast as I used to be able to in Premiere.

It was definitely not great before around 10.1 (2013), but since then it's become my favourite NLE.
Click to expand...

This is such a key point and can't be stressed enough. Some people just refuse to acknowledge. If you have been driving a '57 Chevy with a a "3 on the tree" shift lever and decide to transition to a new Tesla, there are going to be some adjustments you have to make. Remember how many times you stomped your foot on the floorboards looking for the clutch after you starting driving an automatic? (Then again, some people are here might be too young to get the comparison.) LOL

Muscle memory is important. If you play a musical instrument or are proficient at a sport or even if you are just a good "touch typist," you know that un-learning can be harder than learning. Many people don't perceive the value of making a transition to FCPX. And, for some, it maybe doesn't have much value. But if you haven't spent enough time with it to develop that new "muscle memory" then you are not going to really know if you can move as fast or faster than in your old NLE. The only thing that seems inarguable (if anything is), is that people seem to agree that FCPX does a superior job of collecting and handling metadata. (Personally, I don't know much about how Premiere does on that score so I can't comment).

As I have said a zillion times here - if you have a structural reason NOT to change, then probably you shouldn't (yet - lol). If your current NLE is working great for you and you zip along in your editing, then you may be disinclined to find something new. But, if you want to put the power of the better metadata workflow to work in your projects; and maybe "future proof" your process just a bit, then maybe you want to give FCPX a go. But, don't think you are going to make if zing if you aren't wiling to do some un-learning/re-learning.
 
since it was mentioned, what are considered must have plugins (denoiser? etc)
No one mentioned DaVinci - has anyone used it as NLE yet to cut a feature?
I have seen mention of one indie cut in DaVinci
 
Mike Finegan said:
since it was mentioned, what are considered must have plugins (denoiser? etc)
No one mentioned DaVinci - has anyone used it as NLE yet to cut a feature?
I have seen mention of one indie cut in DaVinci
Click to expand...

Resolve is fairly new but I am sure someone's cutting an indie on it.

I have been using it time to time and can somewhat enjoy it at times.

But muscle memory is with the big three for now.

I use Neat Video OFX on Resolve.
 
I just finished cutting and finishing my new reel all natively in Resolve and it was ok but definitely not as refined as premiere or MC (I haven't used fcpx so I can't make a comparison.)

Luckily it was just the little things that bothered me so hopefully they can be fixed in a future update. But as it stands today I could not imagine cutting a full feature on resolve.
 
I can't stress enough, make sure to backup your FCPX 10.2.3 (or whatever version you are coming from) as well as Motion 5.2.3 and Compressor. The method I suggest is:

1. Create a folder called FCPX 10.2.3 Backup.

2. In Applications folder highlight FCPX, then go File>Compress"Final Cut Pro"

3. Copy the compressed file into the folder you created in Step 1.

If you are backing up all of the apps, create a folder that indicates which generation of apps are going in their such as FCPX 10.2.3 Bundle.

You want to put this in a couple of places. DVD, USB Flash Drive, cloud. Just make sure it's in a couple of places because if you get stuck later on and need to go back to earlier version, Apple has taken the cavalier approach of removing previous versions from the App Store.

In general, do this with all of your OS updates too. Keep them archived somewhere.

And of course, to really cover yourself, create clones of your hard drive so you can always revisit a particular configuration at a later date.
 
You must log in or register to reply here.
Back
Top