Showing posts with label FCP X. Show all posts
Showing posts with label FCP X. Show all posts

Tuesday, June 28, 2011

Apple responds to criticism on Final Cut Pro X Part.IV

FCP X assigns each file a unique identifier and can find it automatically, thus avoiding errors (FCP X to a SQL database each file with its ID). Harrington raises an objection: if the file in question was changed, it can again be lost. It seems that FCP X is able to track changes and therefore never lose a file, with this flexible by base. FCP X indeed completely reverses the management of the media: it is no longer a structure to mimic folders / files, but to add meaning to management. So now Apple is resting on a system of keywords; applied to the media, they can organize them into smart collections. The files are thus more structural units, but the semantic units: Drag a media applied to it in a folder that keyword.

Rich Harrington claims to have fewer opportunities to customize the view. Its technical director, he, loves, "it's like to have Google search for my project, it's faster and you can sort the media that any arrangement of keywords and phrases.”On this point, it seems we will have to make new habits. Automatic backup ... almost X Final Cut Pro automatically saves the changes on the fly. If several editors applaud the Auto-Save, others see a number of problems; it is impossible to create "branches" of backups is to say different versions of the state assembly, for adapt to the wishes of the client. On this point, the precise operation of FCP in OS X Leo X must be specified; Versions should create a timeline of all the different versions of a project. We could cite many problematic features, but some cited here show the magnitude of the task.

The core problem is the ability of Apple to communicate, assist and reassure customers. X with FCP, the Cupertino Company makes choices clear; for many, FCP 7 will remain for a long time a weapon of choice. Apple seems ready to add functions to FCP X from user feedback: the heart of FCP X allows the application to be updated quickly in small steps. Thus, multicam editing and XML support will be incorporated through minor updates. X FCP seems to contain the seeds of many promises. The question is whether Apple will manage to hold them fast enough to convince.

Apple responds to criticism on Final Cut Pro X Part.III

Randy explains why FCP Ubillos X is unable to directly import FCP projects 7 while imports iMovie projects, "projects FCP 7 do not contain enough information to be properly" translated "into projects FCP X (the connections between clips in FCP 7 are not included in the timeline, but the head of the editor)”. Keep in mind that mutual fund X is a complete rewrite of Final Cut Pro, new software rather than the successor of FCP 7.

To throw away something that worked perfectly and was popular to replace it with something more modern, forward looking, but incomplete spend a year or two to complete and restore functions that were there before; it the "sequence Apple" singled out by an editor, the same sequence as in the overhaul of iMovie, conducted by the same Randy Ubillos. The only difference is crucial for some, is that FCP 7 is no longer available for sale, while Apple had left to download iMovie HD for many months. It is indeed regrettable lack of communication, lack of support from the Cupertino, but Apple is back on his argument: FCP 7 is still there; editors have the time to move on after X FCP familiar with him. Learn new reflexes Luckily Apple seems ready to communicate better, or at least indicate some bridges.

Moving the assembly of project files at the heart of the application causes some problems; it is less easy to exchange projects between assemblers, for example in a studio. Pogue, who repeats the instructions of the Heads Final Cut product, points to the possibility of sharing the project file; if the second editor has all the media, it will reconnect the references of the project file in its media. Harrington explains, however, that this solution is a bit wobbly, and not as "robust" as the media manager in FCP 7. One solution is to duplicate it exposes the project (project alone project with all the references, with only the project files used), then move it. At the other end, we can consolidate the media to ensure that nothing has been lost, and nothing prevents merging events, for example to make a project on a fixed station changes that were made mobility. Aperture has a function dedicated to the reconciliation multiple editors point the finger at his duties, or import from iPhoto's organizational logic as a way forward for FCP X. Of "robustness", it is also about the new function for reconnection; If a file was moved, it can be "lost" by the software. 7 in FCP, you could point to this file manually (FCP 7 remembered the path of the file).


Apple responds to criticism on Final Cut Pro X Part.II

This is actually the ability to fund X to communicate with other software that is singled out here: Final Cut Pro, with its support of XML, had it opened a strength, to suit different workflow. In fact, X still supports the FCP XML interchange; Apple has confirmed it will soon publish the new specifications. Although increasingly popular, the RED cameras are no longer managed by FCP X. RED and Apple is partners and yet have repeatedly promoted from one another. RED works with Apple to create a plug-in that will import original RED format, which does not address the fact that X does not fund nor other raw formats.

Pogue says that you can always save it as QuickTime, which is far from a solution that format loses much raw information. The only temporary solution that seems acceptable, pending the plug-in, is to use the RED software to convert raw files into ProRes files, which is close to the workflow already adopted by some users of the RED cameras (c is a proxy used only format for editing, where it is more suitable than the raw formats). Another problem is the lack of support for some cards video output of the most popular, particularly in view of mounting a dedicated screen with better color reproduction. Apple Black Magic said working with the support of their cards, while AJ has already beta drivers. As recalled by Rich Harrington, this does not solve the case of other manufacturers, but it is a first step.

Apple does not work against support for the AJA and Black magic cards to work on tape. The Cupertino Company believes strongly in giving up the tape and the transition to a 100% digital workflow; it applies the same strategy as for the abandonment of the floppy, but Rich Harrington explained that the situation is far from the same. The tape is important, although it is indeed on the decline. In an e-transcribed in a conversation on the Apple forums, Randy Ubillos, product designer iMovie and Final Cut, says that Final Cut Pro X 1.0 "is the beginning of the road, not the end." He means by this that many features will be added to as such, but that fund X is a new way; this is how to interpret the abandonment of the cassette.

"We never imagined that somebody changed editing software in the middle of a project," said he: the career of Final Cut Pro 7 is far from over. Apple insists on this point; it is with Final Cut Pro X of decisions (the abandonment of the cassette, the dissolution of the concept of track, etc.), But stay tuned for the add on other items. Final Cut Pro 7 is currently more mature and stable, but editors can already form the new practices introduced by FCP X. But beware; FCP and FCP X 7 live poorly, it is better to install them on two different partitions.


Apple responds to criticism on Final Cut Pro X Part.I

X Final Cut Pro (FCP X) unleashed passion in the small world of video, Apple, who had consulted many professionals in the development of FCP X, decided to step into the breach and to send the team to Final Cut questions from professionals. It did so through David Pogue, technology reporter for the New York Times, who compiled the various criticisms made by professionals. As Pogue explains, this is for Apple to distinguish features really missing the functions that have simply changed places or operation, and also indicate what functions are available or come back through plug-ins. Rich Harrington, a specialist among other things Final Cut, said these responses and offers lighting for someone familiar with the software.

From scratch with FCP X, Apple took the risk of alienating some of its customers: the X is silent on certain features of version 7. Some of these functions will return in future updates; some are available through plug-ins. As explained Harrington, 7 FCP can edit up to 128 simultaneous angles, although in practice only a handful was useful for editing multicam events such as concerts, entertainment programs, etc.. FCP X does not have this feature.

Apple looks forward to add to X FCP multicam editing, through updated considered "top priority". Pogue explains that in the meantime, place the different angles on parallel tracks and use the synchronization feature to calibrate based on their audio content can be a substitute - which makes him smile Harrington. X FCP manages the audio so very different from its predecessor: the notion of audio tracks becoming very blurred to the point of almost disappearing. An editor and complained of not being able to easily export audio on different tracks to Protools, which completely breaks the habits of production.

Others complain that they can export to EDL (text file with a list of audio events and video as a reference for mounting), AAF or OMF (both file systems to exchange software). In the case of EDL, the answer is clear: Apple oriented approach 100% digital; it is considered to be obsolete. For audio or AAF or OMF, she headed ProExport Automatic Duck, software $ 495 or $ 195 for update: Apple has also confirmed she was leaving it up to third-party developers to support these files, just as it abandoned their management cassettes.