These have been some interesting days since the release of Final Cut Pro X
One thing that is emerging is the PRO vs. NON PRO debate.
There seem to be three camps.
- I own and operate a facility with multiple edit suites.
- I run a professional shop that "sausage factories" out shows every day.
- I am a professional and I need a tool that fits this facitlity (which is my definition of what a professional is.)
- I don't like too much change, and generally I have a conservative approach, because I am a mission-critical shop that depends on a software tool to be exactly what I need it to be with the functionality I ask for.
For CAMP ONE pros, FCP X is a disappointment because they have bought a lot of software licenses and hardware, and have made and invested a lot of money in "facility based factory" edit enviroments. These people cannot implement FCP TEN because it is not fully functional yet, but deep down they want it to be -- they want it to work like a mature ten year old software (that FCP 7 is) in a day to day enviroment. They see a very tempting feature set in and potential in FCP TEN, but will probably have to wait to install the software.
Ironically, CAMP ONE often talks about FCP's shortcomings and have been the ones saying it had weak points that could only be addressed if the software was completely rewritten!
I will call these people EDITING professionals. This can range from the following group of creatives.
- Freelance editor -- who has to be ready to edit with anything and can't turn town jobs based on software.
- Indy film makers -- Generally a crowd who are willing to risk and embrace (probably too soon) and like to feel like the drivers of technology.
- Filmmakers -- Who wear many hats, including editing.
- Directors, Director DP's -- who are increasingly moving toward editing.
- Wedding/event Professional -- I can say without shame that I did this for two years (while in school) and it was in many ways more demanding than many professional environments. A wedding day carries a high personal expense and is emotionally charged. There is a lot of pressure to capturing and doumenting this day for people. There are excellent business models and it's a lucrative business.
Let's call this "Emerging Professionals". These fall into the following typical categories:
- I am a student.
- I am a photographer staring to shoot video.
- I am a DSLR indy film maker making music videos for free
- I am retired and always loved film
- I've edited some stuff with iMovie or Adobe Premiere, or two VCRs
Most CAMP THREE people have been professionals in other fields or are moving toward a pro or semi pro career which includes editing their own material as a part of the plan.
The CAMP ONE
people represent the least number of people in editing environments and that number is only going to get smaller as the skill set of the "editing professional" will have less and less to do with software tied to facilities and expensive workstations. CAMP TWO
represents the bulk of hardworking pros who use editing software. This group is growing. CAMP THREE
is all the potential new business.
What I am seeing and reading a lot of on the COW is that CAMP ONE
people are upset that they have to learn a new tool, upset that the new tool is not what they
wanted, they are experiencing a feeling of being disappointed and being left behind. but
, some of them at the same time are showing a lot of resentment to other professional groups for using a tool they feel they have ownership of. They feel like they are the only true editing professionals.
There have been viscious attacks on Apple in the past week from this group.
are either in the middle or defending the application and willing to wait a while to see how it evolves.
are looking for an application that works on their Mac and is as easy to use as every other Mac app.
As I was reading forums all week I thought about changing my sig file to:
You are the professional, not the software tool you choose.
But I didn't. I do think there is something to that statement though. We become very identified with the tools we use. A camera is not just a camera, an NLE is not just an NLE.
Here is they way I like to think about it:
- A pro does professional work.
- A pro does professional work, preferably with professional tools.
- A pro does not need professional tools to accomplish the task.
- A pro acts like a pro at all times.
These are the qualities of being a professional.
I've used many NLEs, many cameras, and they are all just tools in the hands of a professional -- which I call myself by these definitions.
We are in for an interesting post production ride. Let's all be pros here at the COW and let's get talking (in a constructive way) about how to use these new professional tools.
|Related Articles / Tutorials:|
Apple FCPX - Final Cut Pro X
FCPX - First Cut with the new Final Cut Pro X
David Battistella, ever willing to engage in new adventures in film and digital capture, has taken the leap toward editing his latest work with the new Final Cut Pro X. When you watch the clip from Calcio Storico Fiorentino, you will feel drawn in to the action, taste the dust in your mouth, feel the strength and violence of the game, and be washed away by the sheer power of this centuries-old sport. That's how well FCPX worked for David.
Apple FCPX - Final Cut Pro X
FCPX - Final Cut Pro Flux
As the world of post-production enters dramatic changes as of this late June 2011, with the introduction of Final Cut Pro X, Dennis Kutchera looks at the inevitable flux of new technology and what really works for the editing professional and offers some intelligent solutions for a not-yet obsolete workflow.
Apple FCPX Techniques
FCPX - Using Match EQ in Final Cut Pro X
Match EQ is a welcome addition to the audio functionality in Final Cut Pro X. Adopted from Logic Pro, this tool is as easy to use as it is powerful. While Soundtrack Pro provided a similar function, this new implementation in FCPX has more options. If you aren't obtaining your desired results using the automated match, you can delve in deeper to get the custom results you are looking for.
Tutorial, Video Tutorial
|Recent Articles / Tutorials:|
Art of the Edit
Growing Up on YouTube: Video Production, The Next Generation
Through accessible tools and ease of engagement, young people like Sabrina Cruz have been able to grow up on YouTube and find one another. Underneath the amusing titles and colorful thumbnails, her videos have drawn over 10 million views with thoughtful messages woven together with high production value and editorial skill. Dismiss her as just a YouTuber at your peril. It's not that she's after your job. It's that she's one of the young creators helping change the world with intelligence, wit, drive, and an infectious optimism. Are you keeping up?
Feature, People / Interview
Art of the Edit
3 Mistakes All Beginning Editors Make, And How To Avoid Them
In the latest edition of his enduring series "This Guy Edits", Sven Pape covers the three mistakes that all beginning editors make -- mistakes he knows well, having made them all in his own editing career. Fortunately, he's learned the fixes by now too, and shares the easy workarounds in a high-energy, humorous fashion that will have even the most experienced editors nodding along and smiling in recognition.
RED IPP2: Real-World Looks At An Image Processing Revolution
Science is one thing, the real world is another, and yet beautiful things can happen when the two interact with each other. Our conversation begins with RED Digital Cinema's Graeme Nattress explaining the ways that RED's customers are shaping the company's new approaches to color science, as reflected in RED's new image processing pipeline, IPP2. From there, filmmakers Chris McKechnie and David Battistella get specific about how RED IPP2 has revolutionized their RED workflows, both in the field and in post. No hype here. Just the facts, plus some very pretty pictures, and, okay, more than a little bit of excitement in the lab, in the field, and in the edit suite.
Business & Marketing
Authenticity: The First Step to Stock Video Success
His stock footage has sold to the tune of $7 million dollars over the past 10 years, earning on average over $30,000/mo. Here, Robb Crocker shares the specific steps he took, and that you can take too, to build a successful stock video business: free from clients, deadlines, and creative limits.
People / Interview, Business
An Open Letter to Incoming Women Freshmen in Media Programs, by Kylee Peña
A lot of so-called “open letters” on the internet address the outgoing graduates of programs. And while they should bask in the glow of congratulations and good luck because they worked hard, they earned it, and they have some serious challenges on the horizon, this letter isn’t for them. It’s for you: the young woman who is leaving high school behind and beginning your first year of college in the next few weeks. Read on as Hollywood workflow supervisor and president of the Blue Collar Post Collective Kylee Peña reminds you: You have so much ahead of you!
My Illegal Internships: An Oral History, by Kylee Peña
Sure, unpaid internships aren’t exclusive to post production; however, for some reason we’ve collectively decided that the single biggest way to prove one’s merit is by working in some capacity for free. It’s almost as if everyone believes that because they suffered the difficulty of doing often humiliating or degrading work for free, everyone else should too. There are certainly times that personal enrichment worth the sacrifice to work for free, but employers, do you know if what you're asking interns to do for you is even legal? Follow along as Kylee gives examples from her own past internships to highlight current requirements, and lays out some suggestions to a fairer, more productive future for everyone.