We usually announce the FCPX Tours a few weeks in advance. But the Tour that took place on February 3rd in Madrid did not need any promotion at all. Just one day after the event was mentioned on the FCPX Tour website and on finalcutpro.es, all 236 seats in the Cineteca movie theater were taken and there was a waiting-list of people hoping for last-minute cancellations.

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My good friend Jesús Pérez-Miranda organized the event, and the venue he had chosen was impressive. Situated in a huge industrial contemporary art complex called Matadero, la Cineteca is an amazing movie theater devoted to documentary, independent and avant-garde cinema. It is also the preferred venue for the majority of film festivals that take place in Madrid throughout the year.

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As with every FCP X Tour, everything was carefully prepared. The unique interior of the theater, a projection screen of 8.7 x 3.7 meter, a 2K Christie CP2000 projector and a state-of-the-art audio system ensured a great viewing experience for the audience. A professional production team recorded the presentations, and we had a Jellyfish Mobile and two brand-new 10-core Vega 64 iMac Pros on-stage for the live demos.

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The line-up of presenters was at least as impressive as the venue. A slew of high-profile and award-winning Spanish media professionals came to present their latest work with Final Cut Pro X.

I could not attend the event as I was at BSC Expo in London, but the many messages that were posted by attendees in realtime on Twitter clearly showed that the public was extremely happy with the quality of the presenters and demos.

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Juan Uggariza from finalcutpro.es talked about his workflows on "La Línea de Sombra", a very special documentary about the prestigious still photographer Alberto García-Alix.

Juan explained how they also created an interactive web version of the documentary where the viewer can change the contents of the movie in realtime. The website algorithm makes use of FCPX keywords to automatically re-arrange hundreds of interview fragments in new ways, based on the viewer's input, so that the viewer experience is unique every time.

"La Línea de Sombra" is a pioneering project based on FCP X metadata, and interesting both for its workflow and its content.

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Giacomo Prestiniari ("Presti") from Artisans showed how this renowned house of editors in Madrid uses FCP X to cut movies, tv-shows, and award-winning commercials for Grundig, Mercedes- Benz, Coca Cola, Samsung, McDonalds, Audi and other multinational brands.

Presti wowed the audience by creating a 30-second version of a 60-second commercial live on stage in just a few minutes, clearly demonstrating the power of Final Cut Pro X and its magnetic timeline.

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And the surprise went on when director Israel del Santo (Global Set) and post supervisor/editor Arantxa Galán (Amyga) explained their very particular workflows for the prestigious 8 x 52' historic television series "Conquistadores Adventum", produced for Movistar+ (the equivalent of Netflix in Spain).

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They shot this scripted series along the Amazon river almost in ‘documentary style’: without a clapperboard, a scripty, a DIT, or even shooting reports. Luckily for the team, Arantxa was on set from day one using the advanced organizing and editorial tools of FCP X to ingest, synch and prep the raw footage and to create on-set rough cuts. This allowed editorial to provide instant feedback to the production team in places where there simply was no internet.

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Jesús Pérez-Miranda and Iñaki Sanz demoed the realtime power of FCP X, cutting 7 streams of 4K multicam on 2 workstations at the same time, editing 4K, 5K and 8K RED files, and 4 streams of 4K growing files that were being recorded live into into FCP X with Softron's Movie Recorder 4.

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After the lunch break there was a panel discussion with the team that created "La Peste" (The Plague), which is described by the media as 'the most ambitious Spanish TV series ever'.

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Iván Benjumea-Rey, Academy-award winning editor José M.G. Moyano (holding the mike), Manu Terceño, Juan Ventura and Juanma Nogales amazed the public showing how the editorial team worked collaboratively on a Jellyfish Tower, handling 205 hours of raw footage consisting of no less than 1.915 shots and 5.953 takes, to create this major fiction series for Movistar+.

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Perig Guinamant from Merge Software gave an exclusive preview of the coming update for Merge X. It is a very useful app that allows you to merge FCP X events without losing any keywords, ratings, roles and other metadata, facilitating collaboration between editors.

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Another very anticipated presentation was the one by David López (Producciones del Barrio). David is the post production manager and senior editor of "Salvados", one of the most popular and well-crafted prime time factual television series in Spain.

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The series has been on air for 10 years, and editorial switched from FCP7 to FCP X a few years ago. David explained with very clear examples why the team decided to go for Final Cut Pro X after having extensively tested every other professional NLE.

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And last, but certainly not least, director Mario Cuesta and editor Yamila Fernández Colman left the audience speechless with the spectacular images of the nature documentary "Antarctica: a message from another planet", shot with RED cameras and edited in FCPX.

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Yamila highlighted the the advantages of using FCP X when it comes to mixing different resolutions (4K, 5K, 6K), and she explained how the 'Filmstrip' view helps her and Mario to find very specific shots among tons of clips. The documentary is still in post-production but the trailer they showed was very impressive and we are looking forward to seeing it on the big screen.

We will publish the full stories, including videos with English captions, in the next days. In the meantime, here's a little teaser:

After the presentations, all attendees had the opportunity to get hands-on experience with the latest version of FCP X running on two iMac Pros connected to a JellyFish Mobile, which were set up in the demo area.

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Several Avid editors who attended the FCP X Tour event approached Jesús to let him know that they were seriously considering FCP X, and asking him for training. As a result, Jesús has organized a Final Cut Pro X switcher's course for professionals that will take place during the weekends of March in Trazos, a state-of-the-art post production training center located in the heart of Madrid. After the successful FCPX Tour in Madrid, it didn't take much to convince the center to co-organize this course.

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A huge thank you to the team and to the fabulous presenters who made the FCP X Tour Madrid so successful. Some 60 people attended the very first FCP X Tour Madrid in 2016. Two years later, the same event was sold out in just one day with over 230 media professionals who came to see the presentations and demos.

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Final Cut Pro X has never been more popular than today. Seeing how much this NLE has evolved in the past few years, and seeing how many high-end professionals are using it today to create stunning and award-winning content, many editors who decided to go with other solutions are now seriously reconsidering their choices.

And that's why we will keep organizing these events. Because we know how important it is to continue to demonstrate the huge advantages that Final Cut Pro X has over any other NLE, and to showcase the amazing work that respected media professionals create with it.


© Ronny Courtens / FCP.co 2018

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Ronny Courtens (Belgium) is a post-production professional with over 40 years of experience in the film and television industry. He has worked for major national broadcasters and post-production facilities as an editor, post supervisor, and workflow architect.

Since he successfully used Final Cut Pro on a complex broadcast job at the 2012 Olympic Games, he has helped media companies and broadcasters all over Europe to adopt this application.

Building on his experience in enterprise workflows, he joined Other World Computing in 2020 as Head of Enterprise Solutions (ESG), developing the Jellyfish, Jupiter, Argest and Neptune product lines.

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