Skimming in FCP X is one of the things that I really miss when I’m in other NLE’s, particularly for previewing effects and looking at individual clips in composited piles of video. Here’s a little video that compares the difference between skimming in FCP X, and similar options (if any) in other NLE’s. If you use X this isn’t new info, and if you don’t… here’s the difference.
Do you miss the old FCP 7 Media Manager? Wish you could consolidate your project media in FCP X? Well…good news for those wanting for a “real” media manager for FCP X. Marquis, the folks behind X2Pro, have created Worx4X which will do just that.
They plan to release it “well before NAB” No word on pricing, but I imagine it will be similar to X2Pro and other apps of that caliber.
Export Project XML to Worx4X, set your handle and audio preferences, and it will consolidate and trim your media, then create a new Project XML that references the consolidated media.
This is a very simple, cool app and it works great. I’ll be posting a more in depth review as the app gets closer to the final version. Just wanted to give everyone a heads up… It’s coming. 🙂
EDIT: Updated the MPAA tags to the current versions.
In the spirit of giving, I’ve zipped up 4 (Four!) 5 (Five!) exciting FCP X Generators as a lovely gift. Click the image to get ’em! A slate with 4 selectable/editable Audio Configs, some UHD Checker Grids, a published Motion Smoke Effect, and MPAA Red/Green Bands.
Some may actually be useful, so use them wisely! I hope everyone has a great Holiday, New Year, or whatever else you may be celebrating.
FYI, requires FCP X 10.3 or later…
Also, if you are unsure how to install these items, click here and check out this video by Fox Mahoney. Check out his plugins too, they’re awesome.
But wait… There’s more! Clearly I need another hobby, but I made a Color Bar and Pattern Generator too. Click the image to get it. Enjoy!
Also… if you need a 1k tone to go with these, simply put an audio clip — any audio clip — underneath it in the timeline and drop the “Test Oscillator” filter on it… It’s in the “Specialized” audio effects group in FCP X. Instant tone!
Just because. 🙂 Possibly useful in visualizing Audio Signal Flow FCP X 10.3.
Those of you who’ve updated to FCPX 10.3 (do it now!) know that Roles have taken on even more importance than they already had. You can now use them — via new controls in the timeline index — to visually organize your timeline. Of course they also function in their traditional uh, role… routing audio for share/export.
The first thing you’ll notice is that the you can’t assign parent Roles to components, you must assign Subroles. When you assign the “Effects” Role, your component is assigned “Effects-1” etc. You can of course rename any Subrole and any Custom parent Roles you create.
Another thing you might notice… if you select a clip with Multiple Roles in a Project, and attempt to apply Audio Enhancements, you’ll have to select the component(s) in the Audio Inspector before you can do so.
Also, you cannot set the Role on a compound clip any longer, it gets its Role(s) from whatever clips are contained within it.
In previous versions when you import a multichannel file, all the components would get a “Dialogue” Role. Now, each component is auto-assigned a unique Subrole: Dialogue-1,Dialogue-2, Dialogue-3 etc. Here’s why.
(NOTE: Apple has a white paper available here that does a better job explaining the basics, with diagrams, than I do. It also tells you what happens to existing Roles when you update Libraries. Check it out. I’ll mainly be talking about what I’ve learned about how Roles now affect export/output etc.)
Signal Path (over)Simplified
In FCP X 10.3, Parent Roles now act as audio buses, and Subroles act as individual channels which are “assigned” to the Parent for output. What the heck is a “bus” you ask? The short answer, (which is all you’ll get from me!) is this:
On a mixing board, each audio channel (X-Subrole) is either summed to the main mix, or can be assigned to a Bus (X-Parent Role), and you can then control all the grouped channels with a single fader, and add effects to the mixed signal of all the channels before it is summed to the mix. There’s more you can do (aux sends, inserts etc) but there’s no X equivalent of this stuff… yet.
New Mixing Functions
As in previous versions, you can apply effects and volume changes to a Compound Clip created from a project. FCP X 10.3 introduces some great new options though.
When you create a Compound Clip of your Project and select Show Audio Lanes in the Timeline Index, you now see all your Parent Roles (buses) to which you can also apply effects and mix the audio levels.
The Compound Clip is your “summed” output. A simple example would be applying EQ and/or other effects to your Roles, and then applying a limiter to your Compound Clip.
In 10.3, you can get even finer control of your material in a Compound Clip. In the Inspector, you can now choose to show the Subroles in a Compound Clip. In this way, if you have for example 4 different Dialogue Subroles (different mics, actors etc) you can treat them all separately.
Show Roles/Subroles in the Inspector via the pop up menu on the top right of the Compound Clip Container.
This is very cool, as you can mix/add effects to individual Subroles, then do a final pass and mix/effect the Compound Clip. However, there’s a “gotcha” you need to be aware of…
Any changes you make to clips when in Subroles view mode will be lost if/when you switch back to Roles view. If you make changes and then attempt to switch back, you’ll see this:
There are ways to mitigate this. One way is to do most of your mixing when you’re still in the project, make it into a CC, then do a final pass of Mix/EQ/Effects to the Roles and Compound Clip Container only.
Or, you could start tweaking In Roles view, then go deeper into Subroles view and tweak some more. The downside to this is that if you realize you need to change something you did in Roles view you’re in a pickle. If you switch back to Roles view, all your work on Subroles will go poof. (you’ll be warned though)
The third way is to do your final pass completely in Subroles View. You can still add an overall effect (Limiter, Compressor, Master EQ etc) to the Compound Clip Container, but you’ll have more fine grained ability to mix/effect your subroles, and have no need to move back to Roles view.
Regardless of whether you work in Roles or Subroles view, any mixing/effects you apply to the Compound Clip Container will affect the individual Roles and/or Subroles.
The method you choose kind of depends on what your export will be. If you need to export a mix with individual Subroles split out, or have fine grained Subroles you want to tweak individually, you should probably mix in Subroles View mode. And if you do.. stay in it!
Importantly, if you share/export from Subrole View, you then have access to all Subroles in the Multichannel Share Settings. You can still do basic D/M/E splits if needed, but this preserves the option to do more detailed splits.
New “Mixed Audio” Role – What The Heck Is It?
Confused yet? There’s more… Clips with multiple Subroles act differently too! Previously, if you added effects to multichannel (multi-subrole) clips – like a split mix, or production dialog with multiple mics – it would sum the output to single parent Roles.
This is the same in 10.3 if a multichannel clip has only one parent Role, such as the production dialog example above. You assign Dialogue 1,2,3 etc to the subroles, apply effects to the Clip, and it will output through the parent Dialogue Role, which is what you see when you do the Compound Clip mixing thing described above.
But, since each Subrole has it’s own output from a clip now, if you apply Effects to a multichannel Clip (or any multichannel Container Clip: Multicam, Synchronized Clip, Compound Clip) which contains Subroles from different Parent Roles, you’ll see another, new Parent Role when viewing output as Roles: Mixed Audio.
How Does This Affect Exports?
If you’re outputting a comp stereo mix, this won’t matter, as everything is summed to a comp (Stereo, Mono, 5.1). If you’re outputting a split mix though, this can bite you as Mixed Audio contains components from more than one Role. So if you had applied effects to Multi-role Clip(s) or Container Clips inside the Compound Clip, the Mixed Audio Role will contain all of these Roles.
Importantly, if you are exporting as Roles or Subroles from a Project, even if it contains clips with this Mixed Audio Role, it will not appear as a choice when you export the file.
Export Project as Roles WITH Mixed Audio Clips
You’ll only see it when you export as Roles or Subroles from a Compound Clip containing Clips, Multicam Clips or Synced clips with the Mixed Audio Role.
Export CC as Roles WITH Mixed Audio Clips
Export CC as Subroles WITH Mixed Audio Clips
Now, maybe you want this Mixed Audio Role. Say a Multicam clip to which you have applied an audio Effect contains Dialogue Subroles and room tone with an Effects Subrole. And you want these both to output to your Dialogue channel on export. In general though, it’s best to apply effects to individual Components of a multichannel clip to avoid screwing up a split, multitrack output.
The good news, is that FCP X has a bunch of new, microscopic icons to tell you what’s happening. Here they are:
Another feature is that you can now merge Subroles after the fact, or move a subrole to a new parent. You can also rename or delete Subroles at any time.
Note: You can’t delete any ‘default’ Subroles like “Effects-1, Effects-2” etc. that FCP X auto-creates. You can rename, merge, or move them though. As always, you can’t make any changes to the default Parent Roles
In any case, when you do any of these things, it will apply to all components in the Library that have the Subrole you are deleting, renaming, merging or moving, so use this wisely! Lastly, Roles are now Library Specific rather than shared across all Libraries.
Merge Roles
Move Roles
So, that’s my semi convoluted, basic explanation of how Roles work in FCP X 10.3. As noted above, definitely check out the white paper link, as there are many more details. Plus, I probably explained it badly. lol And then, experiment! Some very cool workflows and future possibilities now!
Well, the wait is over, Motion and Compressor have finally been updated!
Oh, hold on… Final Cut Pro X 10.3 was released today too right?
It’s been a long time coming and for good reason… it’s a major update, arguably the biggest yet. Since everyone on the internet will be writing about these updates in depth, I’ll be providing the TL;DR (too long;didn’t read) version for FCP X and talking about what it’s like to actually use it. Let’s start with the headline features, then go a little in depth.
Headline Features
Brand New UI
Redesigned Timeline 2.0 with optional Role Organization
Color Code Roles
Re-Order Roles in the Timeline
Timeline Clip Height KB Shortcut now properly works in Timeline
Add Roles on import manually or using iXML, in the Inspector, or TL Index.
Batch Assign Roles in the Inspector
New MXF and DPP Metadata Views (Apple cares about pros!)
Remove all Effects or Remove Attributes.
Customizable, Recallable Workspaces
One Click to add Audio-Only Fades (set this in Editing Preferences under Audio)
Optional Full Height Inspector
Copy/Paste Timecode
Add Effects to master Roles in a Compound Clip (Role based mixing.)
New Audio/Music Browser with Waveform Preview
Optional Continuous Play in the Browser (set this in the View Menu Browser options)
Consolidate custom Motion Templates in a Library (set this in Library Inspector or right click a Library in the Browser)
Open Libraries from an SMB NAS
Built in Flow (morph) Transition
Source Timecode Generator and Effect
Check the release notes, there’s a lot more. New Pro formats, Full screen Timeline on a second monitor (and other 2 display options), XML Import into existing Events (loving this!). It’s pretty clear now why this took a while to appear, it’s kind of a whole new app. FCP X 10.3 will run on macOS 10.11.4 and up.
As I said… Rather than just listing all the features – you can find those in the help menu or online – lets have a look at what it’s like to actually use this beast.
Brand New User Interface
Dark, flat, and in my opinion, way better to work with than the old version… I use a bunch of NLE’s and this version of FCP X is by far the easiest on the eyes. Many buttons, controls and Menu options have moved and/or been consolidated in a much more logical fashion. It takes a minute to figure out where everything is, but it really makes much more sense in day to day use.
The Music & SFX Browser moves to the main browser window, and gains a skimmable waveform view. Titles and Generators now appear in the Browser as well. Put the Browser on a second monitor as I do at work, and it’s much easier to hunt for stuff.
Also, you can now store Motion Templates in the Library if you want. You set this in the Library Inspector or by right clicking a Library in the Browser, very straightforward. Now when you share or archive Libraries, any custom Motion Templates can travel with it. This is a big deal for folks who collaborate on jobs and use custom Templates. Remember that any plugins that are not stored in the Motion Templates Folder will still need to be installed on all machines on which you open the Library.
New Wide Gamut Options and Viewer Range Check
New settings allow editing and output in Rec.709 or Rec.2020 (Wide) color space. Compatible monitors are necessary for wide gamut display. You can set the color space for individual Projects, or an entire Library. Note that in order to change a Project from Rec 709 to Wide you must first set the Library to Wide. You can then flip individual projects between the 2 color spaces.
In the Viewers, the option to display Range Check overlays has been added. Most people may not need this, but it’s essential for professional broadcast work.
Customizable Recallable Workspaces
There are a few default sets, and you can now create and save your own custom layouts as well. New buttons have been added to quickly switch from single to dual monitors, Show/Hide the Timeline and Browser, and you can choose a myriad of different combinations of what you’d like to show in each Workspace or on either monitor. The option to put a full screen Timeline on a second monitor is one of my favorites. Save as many arrangements as you want. It’s very cool, very simple to work with, and very nicely done. Workspace settings can be easily revealed in the Finder to copy to other systems if you want.
Remove Effects and Remove Attributes
Another much requested feature, and it’s implemented really well. You can select a group of clips and remove all the applied effects if you want. Or, using a window much like Paste Effects, selectively remove any Transform parameters, Effects, or combinations of each. Very nice, and worth the wait. And here’s a treat for you… Match Color now can once again copied and pasted or saved with a preset, it’s no longer orphaned as it has been since 10.2.0.
Full Height Inspector
This is super useful. You can show the Inspector as you always have, or with a keystroke it expands to the full height of your monitor. Really nice to have this, especially with Effects that have lots of controls.
Work With Libraries From SMB NAS
You can now open Libraries that are stored on NAS drives via SMB. No fancy setups, hardware or voodoo needed. I have a 2013 Mac Mini running OS X Server with a bunch of Promise Pegasus drives attached to which I connect via a GB Ethernet switch, and it works perfectly for me. This ability was seen as a “missing” feature that is being put back in, but it’s one of those things that make one wonder what Apple has up their sleeve.
For some reason I wasn’t able to copy existing Libraries on my computer to the server (likely a permissions issue on my end), but I’ve created new Libraries on the server and they work just like local Libraries. Waveforms and thumbnails refresh a tiny bit slower, but that’s probably due to the Ethernet speed, not FCP. Very nice to have this for those of us who work in collaborative environments.
Timeline 2.0 – Roles
OK, here’s the thing everyone will be talking about… After revamping most of the other parts of X over the last few years, Apple have finally tackled the Timeline. Roles, which have always been at the heart of how FCP X works, are now supercharged. What this means is that it’s more important than ever to assign and use Roles effectively.
To facilitate this, you can now assign custom Roles on import, and you can use embedded iXML data to automatically assign Audio Roles when importing. You can also batch assign common Roles on components of multichannel masters in the Audio Inspector (no need for Role-O-Matic anymore), rename and assign Roles in the Inspector, in the Timeline Index, or by right clicking a clip, or selected group of clips, in the Timeline or Browser.
In short, it is now much easier to assign Roles to clips no matter where you are in the app. Roles are of course searchable in the Index, and you can now search for clip types – Audition, Compound Clip, Multicam and Synchronized Clips.
Role Colors
And something everyone has been clamoring for has appeared… you can assign colors to your Roles too. That’s right, Roles can be assigned different colors from a default palette. Now we can make our timelines look just as hideously colorful as Avid and Adobe!
Kidding aside, it’s good to finally have this option. Any changes to Roles are Library based, if you always want different colors than the defaults, you’ll need to change ’em in each new Library. As always, making a “template” Library that you duplicate to make new Libraries solves this.
One thing you’ll notice is that Roles function a little differently now. Every “Master” Role always has a default Subrole with the same name. Choose “Music”, and your clip will be assigned a “Music-1” Subrole. As in previous versions, you can rename any Subroles and create custom Master Roles. Essentially each Master Role is now the ‘container’ for all the subroles in it’s category, like an audio buss or group. There’s a very important reason for this which I’ll talk more about below…
Timeline 2.0 – The Timeline!
In the default view, the timeline functions pretty much as it always has. The major difference is that Roles will “stick together” as much as possible. You can now re-arrange the Role order in the timeline by dragging them in the Index. I really love this feature.
Default TL Appearance
You can also “Focus” on a Role, which minimizes all other clips to almost microscopic size. The crazy thing is that you can still pretty easily work with these minimized clips. It’s a great feature which makes working on Projects with lots of stacked audio clips really really easy. You won’t be setting any keyframes on the minimized clip the timeline, but you can cut, trim, add Effects and transitions etc. It’s a godsend for people with smaller screens.
Effects Role Focus
One difference you’ll note is that clips may not stack quite as tightly as before. Roles can overlap in the default view, and you can still manually arrange clips around vertically, but a “lower” role will never move higher than any vertically adjacent clip from a higher ‘z-order’ Role.
The other difference is that you can no longer put audio only clips above the Primary. Kind of a bummer, but ya gotta break some eggs to make an omelette right? The various Clip Appearance settings are slightly different as well, cycle through them and check it out.
So… that’s the new default view, but there’s another new view that will blow your mind.
The Timeline Superhighway
Welcome to “Lanes View”. Enabling this in the Timeline Index puts each Role in it’s own separate Lane. It’s a new, powerful way of organizing an NLE timeline, without losing the the functionality of the Magnetic Timeline.
You can choose to show one big lane for each Master Role and all it’s Subroles, or expand the view to show a separate Lane for each subrole. Put one Role in Lanes View and leave the others in default view, or any combination you want. Click the “Show Audio Lanes” button to change the entire Timeline view.
It has the visual utility of traditional tracks, without losing any of the Magnetic Timelines’ utility. FCP X had already made traditional tracks seem obsolete, but now Roles and Lanes View make tracks feel positively archaic. You can flip through all these views in real time during playback of course… it’s really amazing what Apple have done here. Here’s a little animation that cycles through all the views, and reorders some Roles.
The usual suspects will now say “FCP X has tracks!”. But this is not “tracks” at all, it’s an entirely new thing. Sure, you can re-order tracks in other NLE’s, but there is nothing that even approaches what the FCP X timeline can do with Roles and Lanes. Not even close. Seriously. Play with it, you’ll see.
Apply Effects to Compound Clip Roles. (aka groups or busses)
This is a really important new feature. Create a Compound Clip from your Project, select it in the Timeline, and use the “Show Audio Lanes” Button in the TL Index to expand out the individual master roles as clips. You can then apply effects to the Role(s), as well as to the CC “container” itself. Apply a VO preset to a Master VO Role, add some EQ to your Dialogue Role and drop a compressor/Limiter/LUFS Meter on the enclosing CC container for example.
Select the Role (or the Compound Clip) in the Audio Inspector to make adjustments to intrinsic parameters and/or Effects you’ve applied. You can of course adjust levels for each individual master Role as well as the entire CC in the Timeline or Inspector. Essentially each Role in a Compound Clip is like a buss or subgroup that can be treated independently of other Roles and the CC itself. Incredibly useful for mixing and delivery and, if you think about it, there’s a whole world of possibilities this opens up.
What Else?
As noted above and in the Release Notes, there are many more new features, fixes, and improvements in this version. Way too many for me to go into in this post. FCP X 10.3 is also really fast. It opens faster (the UI appears first now, then the Libraries open), and runs as fast or faster than previous versions for me.
Many of the changes made to the Timeline, Roles, etc. open up some very intriguing possibilities for future updates. Also, the majority of the big changes and additions in 10.3 are squarely aimed at professional users, which is a very good thing.
Hey, maybe people will stop whining about Apple not caring about pros now!… Nah, probably not. 😉
Almost more importantly, this version of FCP X is, as usual, a blast to work in. It’s stable, really great to look at, and the timeline view options and other new features are really a joy to use. My advice is to just get it and start poking around, it’s pretty amazing. Open all the Menus, explore the Command Editor… It takes a little while to discover all the new stuff and get used to how it all works, but that’s half the fun!
Should You Update Now?
Yes! With some caveats…
Your existing libraries will be updated in this version. As always, create backup copies before you open them in 10.3. It’s also always a good idea to compress/zip your current versions of the apps just in case. If you’re in the middle of a large job, the old “hold off until it’s done” advice is warranted. That said, I have clearly not heeded that advice. 🙂
Every Library I’ve updated – and I’ve updated some very large Libraries – has been fine. Any small issues I’ve run into have been easy to fix. The longer and more complex your Project the longer it’ll take to QC it in the new version but if you don’t mind spending the time, then go right ahead.
Roles in existing Libraries/Projects that are updated may get a little screwy. I haven’t had any problems here, but be on the lookout for this. Using Lanes view and expanding Subroles makes tracking down stray/incorrect Roles very easy though.
As usual, some 3’rd party plugins may have issues. I have, uh… lots of these, and for the most part everything has been fine. I’ve also heard first hand from some plugin developers that things are actually better with this than previous updates, but keep an eye out.
10.3 updates fcpxml to version 1.6, and apps that use fcpxml may not yet work with fcpxml 1.6. You can optionally export fcpxml 1.5 so in theory you should be OK, but the changes in Roles could cause unexpected problems when exporting to the older version. Again, nothing major that I’ve run into, but if you have mission critical workflows that use fcpxml, I’d run some tests to be sure.
Of note… the latest versions of X2Pro and all the Intelligent Assistance apps work with fcpxml 1.6 now. EDL X works fine if you export fcpxml 1.5, and I expect it will be updated soon if it hasn’t been already.
All in all, this is a very significant update, and it’s now apparent why it took so long. If you like FCP X, you’re gonna love it. If you don’t like FCP X, give this version a try, it may just change your mind. Personally, I have a hard time going back to the “old” version of X when I need to, and working with track based NLE’s is now even more maddening.
FCP X has always had features that are unmatched in any other NLE, and this update has pushed it even further ahead of the pack in many ways. The Pro Apps team have obviously been working their asses off on this, and they’ve knocked it out of the park. Send ’em some flowers or something. 🙂
After another online “discussion” about FCP X vs. other NLE’s, the usual “You need to do things differently in X than in others” comment from an FCP X proponent came up. The point attempting to be made was that In X you must work in a different way than anything else. “Edit in the browser before you start to edit in the timeline!” In the course of the thread I wrote the reply below. Since I have nothing else to write about right now… here it is. 🙂
Telling people that X is a completely “new way of editing” is a pet peeve of mine. (what is a peeve anyway??) It’s not reinventing the process, as editors we are doing the same thing in X as anything else. Watching the footage, making selects, organizing it all, and then cutting pieces together. As we all know, getting all your stuff organized and prepped to cut is something you need to do no matter what you’re cutting with, from flatbeds to an editing app on your phone.
What X offers, IMO, is a different, and easier way of doing the same thing. The Browser, Collections, all the metadata goodies are great of course, but to me, the things that set X apart from everything else are:
The Timeline- being able to just cut stuff in and move clips around without any thought at all as to whether it will collide/overwrite/screw up anything that’s in your cut is a huge advantage.
Embedded Components- much easier to deal with than separate A/V. And you can of course separate these if you want.
Roles- Also huge, particularly for audio versioning, and I feel like there are some very powerful possibilities that remain untapped here.
Compound Clips- Nested clips on steroids, and also have some cool potential.
Motion Templates and Compressor Bundles- Create these in Motion and Compressor, load them into X, done. You can share them with other users who don’t have the apps which is very cool. Compressor bundles don’t get enough press IMO.
Having the ability to make a preset where you can create a 2k, 1080p, 720p and SD version of a cut with a couple keystrokes in the NLE is very nice. You could do all that and also upload a cut to YouTube, Vimeo and Facebook at the same time. Whatever deliverables you need… 1 command, no other apps needed.
Filmstrip View– Nothing else compares to this, it’s an enormous timesaver.
The Skimmer- love this thing, especially clip skimming.
Live A/V Effects Previews- Enormous time saver, and the quality and ease of the built in audio and compositing in X is really great.
Timeline Index- I’m not sure people get how useful this is. I mean, you can do basic editing from the index if you wanted to.
Anyway…. I could drone on and on… My point is that X is an NLE, and like any NLE, you should use all the tools it offers to get your material ready to edit. What keeps me hooked is all the other stuff that really isn’t in anything else. Makes my life much easier. What do you think?
When it comes to color grading, I pretty much have no clue what I’m doing. I bumble around though, and I stumbled on a neat trick. Forgive me if everyone knows about it… When visually comparing two shots, it’s easy if one shot can be loaded in the source monitor so you can check the two side by side. But when the 2 shots are in a timeline, I’ve always been annoyed by needing to click back and forth between them to see whether they match well. I’m probably doing it wrong, but here’s the little trick, courtesy of our friend the skimmer. 🙂
Select the clip you want to work on and place the playhead on it so it shows in the monitor and scopes. Then, turn on the skimmer and hover over the “source” clip. You now see your “source” in the monitor and scopes. Then, just hit the S key to turn it on and off, making adjustments to your selected clip. It’s a super fast way to ‘A/B’ shots from the same timeline. See the gigantic gif below for a “demo”. Excuse the blur… top secret stuff! lol
Helpful? Common knowledge? Let me know! 🙂
The other day someone was asking (again) about the reasoning behind the FCP X Magnetic Timeline. I started to (again) attempt an explanation, and then realized that about a year ago I wrote an article for The Creative Cow that explains it pretty well. So, because I’ve been busy working and stuff and have nothing new to post, I thought I’d regurgitate the link to the article here, in case it’s of any use to someone. Many of you have probably seen it, but it’s all I got right now. 😉
I just re-read it and it’s actually not bad. Maybe someone else wrote it. lol
Click Here or on the pic to check out the article.
Since the day FCP X was launched, it’s been dismissively called a “prosumer” application. The implication being that it is not made for “professionals” to use. Well, I think it’s time to put this BS to bed. First of all, ‘prosumer’ is a noun:
Oxford English Dictionary Definition
prosumer
Pronunciation: /prōˈso͞omər/
NOUNAn amateur who purchases equipment with quality or features suitable for professional use:
‘The magazine is aimed at the prosumer who uses a $10,000 camera to make home movies of his dog’
So anyone implying this, or tacitly agreeing with it, is not actually disparaging the program, but the people who use it. Either way, it’s utterly incorrect.
Now, it is true that FCP X is probably the most accessible Professional NLE for people who are new to editing. The basic operation is very simple, and can be easily explained to novices. Not so with other NLE’s. At all. From what’s been said publicly, Apple aimed to make a program that ‘democratized’ video editing. And, arguably, they’ve succeeded. But that doesn’t mean that FCP X is not just as good an NLE for “pro’s” as Media Composer, Premiere and others.
Feature Films, Documentaries, Broadcast Television, Commercials, and lot’s of other ‘professional’ content has been, and will continue to be created in FCP X. But there are a lot of people, and companies, with vested interests in perpetuating the perception of FCP X as less capable than other options. And nowhere are these voices louder than in the relatively tiny ‘high end’ market.
I don’t understand why so many pro’s still cling to the inane perception that Apple doesn’t care about them, or that FCP X – and by association FCP X Editors – aren’t capable of doing exactly the same high quality work as anything else. But here’s what I do know…
In Hollywood, we still use EDL’s for turnovers and finishing. In Hollywood, we still need to deliver motion graphics as image sequences rather than just transferring HD 2k or 4k (or whatever) movie files. We still sometimes finish material to tape. Yes, tape! In many ways, people producing hairstyling and makeup tips for YouTube are using more advanced workflows.
Some people don’t want to learn a new program even though it may make their job easier. Some people don’t want to use a program that might reduce their billable hours. Some people don’t want you to use a program that can do things in software that have been traditionally outsourced to them. Some people only want to use what their peers say is ‘good’. And some people don’t want you to use a program that decreases, or does away with, your reliance on their program.
If you’re a producer, FCP X can potentially save you time and money vs. other options. But if you depend on complexity and confusion for your livelihood, I imagine FCP X is seen as a threat.
So complain all you want that it’s iMovie Pro, whine about how Apple has abandoned the high end market, call it a prosumer program. Because name calling and FUD are really the only defense you have.
But… that won’t make FCP X go away. So you might as well just stop.
Final Cut Pro X Babbling 