“I spent a quarter of a century editing on Avid and several years on Premiere Pro, so why did I decide to ditch them both and go with Final Cut Pro X? I’ll tell ya….
There’s a small but growing number of editors who have made the jump. The process is fairly predictable. Surprise when we first hear a fellow editor rave about FCPX. Followed by a willingness to give it a shot. And then two weeks of massive discouragement and frustration, because it’s unlike any other edit system we’ve used before. And finally, the lightbulb moment, the “NOW I get it” realization that comes with understanding the radically different workflow….”
LumaForge – “Jellyfish shared storage is designed for one thing and one thing only: collaborative editing. This requires a respect for the programs that make video creation intuitive to you. We’re platform agnostic because we believe the problem isn’t with the NLE you’ve chosen, but rather with the lack of ingenuity in the shared storage experience. It’s hard enough to find software you love. We’re making it possible for you to work seamlessly with the programs you’re comfortable with, while no longer needing to continuously pass drives back and forth.”
“At last year’s FCP X World in London, people were dazzled by watching London-based commercial editor Thomas Grove Carter of Trim Editing cut together an Audi commercial live. The speed with which he conducted the edit was mesmerizing….
… But FCP X, with its magnetic timeline and the powerful tools packed into its browser, is built for lightning-paced cutting—you just have to know how to use it!
As I see it, there are two standout techniques involved in Thomas Grove Carter’s process:
Mastery of three-point editing (and its keyboard shortcuts)
Mastery of FCP X’s browser-based system of organization and labeling…”
“… Final Cut Pro X is very good at certain things. Unfortunately Apple hasn’t yet cracked collaborative workflow and sharing Libraries between editors can be clunky.
Jasper Siegers at broadcaster EO in the Netherlands has been working on a project that allows all of its FCPX editors to collaborate by enabling version control. The free app is called PostLab and is available for download from the PostLab website.…”
“… Ultimately this documentary is about how a tool has helped democratize movie making. It is also a product of what it preaches. Final Cut Pro X does empower storytellers and that message was what made me passionate enough to take all the time and energy to make this documentary. It’s a real meta sort of thing.…”
A confession: when I first cracked open Final Cut Pro X in its first iteration, I felt at home with it and its magnetic timeline concept in a way I never had with more conventional NLE products including Final Cut Pro.
In 2011 Apple ended Final Cut Pro as we knew it and started over with a brand new video editing application: Final Cut Pro X. The disruption from this change is still being felt by the film, television, and video industries to this day.
With misinformation running amok, Off The Tracks aims to clear the air once and for all.
This documentary features exclusive interviews with the creative professionals who use the software and the developers who created it. Why did Apple make Final Cut Pro X?
Flanders Scientific Inc. – B&H – although movie editors and color graders regard FSI monitors as the best there are, bizarrely B&H does not appear to stock the monitors themselves but only the accessories for them. I hope that this changes soon. Check out the FSI Solutions MediaLight 6500K Bias Light products for lighting your workstation area with light that will not throw your colour judgement seriously out of whack.
GTI Standard Gray Neutral N8 Vinyl Latex Paint (1 Gallon) – B&H – “Standard Neutral Gray Munsell N8,
Made for the Photo and Graphic Industry, Used in Color Viewing Areas, Water-Reducible Vinyl Latex Paint, Eliminates Simultaneous Color Contrast, Reduces Color Pollution of Viewing Area”
“Blackmagic Design today announced DaVinci Resolve 15, a massive update that fully integrates visual effects and motion graphics, making it the world’s first solution to combine professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for….”
“Apple has gone ahead and and released what can only be described as a humungous update for Final Cut Pro, including the ability to edit 360° video, advanced color grading tools like curves and wheels, look up tables without the need to use third-party plug-ins, support for high dynamic range video and a whole bunch more….
… But while on the surface, the UI looks reassuringly familiar, those who shoot HLG for rec. 709 delivery using the Leeming LUT may be in for some unpleasant surprises….”
“… In his presentation at the FCP X World event at IBC, Roger Bolton from Coremelt demonstrated how you can accelerate grading, enhance client presentations and get great results quickly using the Chromatic grading tool….”
CoreMelt – Chromatic – “Chromatic is the most complete and flexible grading plugin for Final Cut Pro X. Featuring integrated mask tracking with the Academy Award wining mocha tracker, powerful color keying, full RGB and HSL curves, three way colors wheels, auto white balance, exposure and color temperature. Unlike other solutions, in Chromatic all these functions and more are available in one powerful product.”
“You may have heard of DaVinci Resolve as a color grading tool—it has a strong pedigree in color, and about a decade ago, you only would have seen it inside high-end post-production houses and finishing facilities, replacing the color timing workflows for film with cutting-edge digital intermediate workflows.
However, it’s also great for syncing audio, preparing dailies, conforming, and in the past few years, has even started to offer tools for editing and sound mixing. The sound mixing tools are brand new, so the industry hasn’t adopted them widely yet, and the editing tools aren’t yet as robust as what you’d see from Apple, Adobe, or Avid, but they’ll suffice in a pinch. This whole collection of tools, together, makes Resolve one of, if not the most powerful tool in post-production. It’s the glue that holds the entire post-production workflow together….”