![]() Premiere is available for Windows as well. It is because Premier and Final Cut are the only two video editing software for the macOS. The Adobe Premiere Pro vs Final Cut Pro is always in the rat race, fighting to achieve the number one position and rule the heart of their users and subscribers. Whether it is post-production meetup or heated bar debates, both Premiere Pro vs Final Cut has been a matter of discussion and confusion for the expert and pro users. I like that.The continuous battle between the Final Cut Pro vs Adobe Premiere to grab the top spot is quite evident since the beginning of both the macOS programs. I will continue to use it on my side projects for no other reason than it is fast, or at least, I am fast while using it. If FCP X was just one year older with a few more stories like this it might well have been a contender. Might as well relearn Avid, earn while you learn, as it is still largely in demand since FCP legacy was EOL’d. In any case, looks like we will be adopting Avid this year. ![]() I worked through the introduction of FCP legacy and saw first hand the tide change on that one in the TV drama world (and picture editing overall) here in Canada. Great to see how Focus used FCP X and more stories like this will eventually turn the tables. Three reasons: Technicolor in Toronto, who do our dailies and online, have yet to run a show through FCP X editor’s are reluctant to try Apple did such a lousy job introducing FCP X and it still carries the stigma. Unfortunately, though I am keen enough to build a FCP X workflow, the rest of the post production team is not sold on it. In other words, move while its still our choice, I am 1st Assistant picture editor on a TV drama in Canada that is about to (hopefully, rumour has it) go into a 9th season and we are looking to replace our current editor, FCP 7, this coming season because we are anticipating a couple more seasons we want to move to a new solution while the current one still works. The event began at Hollywood’s ArcLight Cinemas with hands-on production demos and was followed by a panel discussion - featuring Focus‘ associate producer, co-director, DP, DIT and editor - and ended at Light Iron’s facility.Ĭheck out the videos below showing the Light Iron and Apple presentation called Focus on Advanced Workflow with Final Cut Pro, and check out photos from the event here. In order to highlight Focus‘ post workflow, on March 7 Light Iron, along with Arri and Apple, hosted a VIP Case Study. Using Final Cut Pro X to edit Focus is about getting FCP X to explore an entirely new world of workflow potential and do everything better than other NLEs.” Jan Kovac edited Focus. Mike Matzdorff was assistant editor. In fact, according to Harlacker, “It really does work well and the interaction is a really great creative tool that satisfied the creative way this team works.”Ĭioni, whose Light Iron provided on-set digital dailies and DI services, notes, “I’ve heard some say that Focus is Apple’s new Cold Mountain, but Focus is different because Cold Mountain was about getting Final Cut Pro 3 to do exactly what Avid Media Composer did using a film workflow. to allow Focus to be posted using Final Cut Pro X was challenging, according to Focus associate producer Jeffrey Harlacker, but what finally convinced them was to “mirror” the FCP X system with an Avid in case of an unforeseen issue…which never happened. ![]() For time-pressured productions, such as episodic television or web series, the reduction or elimination of an online conform translates to a measurable time and cost advantage.Ĭonvincing Warner Bros. In addition, one of the biggest advantages of Final Cut Pro X is the ability to edit native 2K+ without the need to transcode to proxy or “offline” files. Timeline-based systems that sat on-top of a database, something that is ideal in a videotape world.įinal Cut Pro X is the reverse: an advanced database system that sits on top of a timeline, which is more ideal in a data-centric world. According to Michael Cioni, CEO of Light Iron, Final Cut Pro X is the first NLE designed around a data-centric ecosystem. Less than two years since releasing the new MacPro “cylinder,” Apple claims that they have upgraded Final Cut Pro X to the level where it can be taken seriously again as a post production solution for features and episodic television. Nearly four years later Final Cut Pro 10.1.4 is fully resurrected and, for the makers of the Will Smith caper Focus, a godsend that provided a flexible, efficient and cost-effective workflow to post their feature movie shot on the Arri Alexa. ![]() Derided as an odd version of iMovie, it lacked many of the features of Final Cut 7 and fell out of favor with many editors looking for an alternative to Avid Media Composer. ![]() To many, Apple’s Final Cut Pro editing application died in June 2011 when they announced Final Cut X. ![]()
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