FCPX 10.1.0 PRE-RELEASE DISCUSSION

Scrubelicious wrote:

Julian wrote:

Darren Roark wrote: It's kind of ironic that after fending off all the name calling of fcpx as "iMovie Pro", my impatience for the next release is calmed by iMovie.

It really does solve many mysteries as to what changes the next version of X will (likely) have.

Being able to open and close different projects, single folders for said projects, etc.

It's a sign of good things to come.

The real ironic thing is that people are now bitching about FCPX's ability to handle all that 4K. "Who uses 4K?" "What's the point in 4K" "no professionals I know use 4K"

It's not pro, it's too pro... Jesus Christ, really?

Who is complaining? I use 4K footage all the time if the time lets me.

It's the usual Internet trolls, but now it's just gotten pathetic that they have to complain about the pro features.

"How many people actually working in 4k workflows will want to use fcpx? I'm guessing its a small 1% of their user base! I don't know anyone who starts and finishes a 4k project in just the editor alone, ha."

"It's about time I'm able to do my home movies in 4K..."

"'Final Cut Pro X has been so perfectly tuned to take advantage of the new Mac Pro, you can work in 4K — in real time — without rendering. (Take a minute to let that slowly sink in.)'

I work on half hour cooking shows broadcast on PBS. I'm as interested in working in 4K as I was in 3D. Take a moment for that to sink in."

"I worked on something this year that was shot with the RED Epic. It hit theatrical screens at 1080."

"All the reality shows I've worked on cut in SD for storage reasons. How do you fold the 4K into your offline/online workflow?"

And it goes on and on... Now everybody is working in SD and 1080p only. Its obvious now that they are just haters even more so than before. They got nothing.

The main reason I think everyone is up in arms is fear of all this becoming easier. Four years ago I was working with a production company on getting their work to look better on the web. Their post house was still finishing all their national broadcast spots on interlaced 3:2 pulldown digi beta because "HD costs triple". When I asked if they could work with prores 1080p quicktimes or even DNXHD provided by the lab on a drive, they still said that it would be charged the HD workflow price. WHAT??!?!

When the prod co told them they were going to take their business elsewhere after a seven year working relationship they nixed the HD surcharge. Any time I set foot in their shop after that I would get the stink eye from the owners.

The pro features are scary because a MBP Retina notebook and a promise raid can edit 4K in realtime. The upside is that getting work may be judged on talent and experience rather than having a machine room full of obsolete gear so the client's mind is at ease they are dealing with 'professionals'.

The trolls can drink their haterade all they want, but 4K is going to be important. Maybe not today, maybe not tomorrow, but soon and for the rest of our lives. (Even if it's only our kids who give a darn)

If they are scared then they need to start reading more editing theory books and trying new things. My tools allow me to do the work, but I'm making the creative decisions. It's like the microsoft word argument. Just because someone can use microsoft word, doesn't mean they know how to write.

Julian wrote: It's like the microsoft word argument. Just because someone can use microsoft word, doesn't mean they know how to write.

You made me laugh after a painful day at the dentist with a broken tooth. It hurt to laugh but it felt so good!

Julian wrote: If they are scared then they need to start reading more editing theory books and trying new things. My tools allow me to do the work, but I'm making the creative decisions. It's like the microsoft word argument. Just because someone can use microsoft word, doesn't mean they know how to write.

Yes! It's like Luke haggling with Han Solo because they could buy a ship for what his services cost. He said "Yeah, but who's gonna fly it kid, you?"

I'm hoping that clients will finally hire based on talent and experience instead of them "having a 'real' editing system". The days of charging a premium for having the most expensive gear are numbered.

It'll be driven by the consumers. They're going to start buying 4k displays and then 4k will be the buzz. You'll have to deliver in 4k because what those who don't know better will demand.

Broadcast will be the last to get onboard. Most of their user won't care, and it will be hard and expensive for them to get going.

On demand services, however, will be able to jump ahead, not restricted by streaming bandwidths. Services like Netflix and iTunes can offer people the size and quality each customer wants- crummy connection or no 4K TV? Then watch 1080. But if you've got the hardware and the connection- go for it.

Disproportionate Pictures wrote: Broadcast will be the last to get onboard. Most of their user won't care, and it will be hard and expensive for them to get going.

On demand services, however, will be able to jump ahead, not restricted by streaming bandwidths. Services like Netflix and iTunes can offer people the size and quality each customer wants- crummy connection or no 4K TV? Then watch 1080. But if you've got the hardware and the connection- go for it.

Why do you think it will get more expensive? CBS is finally going away from tape and there are now several inexpensive 4K cameras. (one you can order now for $4K if it isn't a myth like Bigfoot.) And the post pipeline isn't more complicated aside from needing more drive space.

It's not acquisition or production, but distribution. On Demand services have the benefit of buffering. Live Cable/Satellite is streaming.

Tom Wolsky wrote: It'll be driven by the consumers. They're going to start buying 4k displays and then 4k will be the buzz. You'll have to deliver in 4k because what those who don't know better will demand.

It's going to be a very slow adoption rate. Even with marketing hype, consumers tend to gravitate to lower prices. This is even more the case in the current economy. Only when HDTV disappears entirely, will the adoption rate be aggressive. From what I saw, many people were still buying SDTV when HDTV first become available simply based on price. Additionally while it's been some time since I saw the last consumer survey, the TV replacement rate is about once every five years.

My own guesstimate is that it'll be over a year (most optimistically) for comparable price relative to screen size, at which point UHDTV will begin significant adoption. At that point H.265 GPU assisted decoding (and encoding) should be more widely available as well and some of us may even have to consider replacing our MacPro Tubes for newer GPUs. So the "push" may be nearly two years out and it'll take a few years beyond that for it to overtake HDTV.

I'm pretty much in agreement with Phillip Hodgetts recent comments on the subject.

What were Philip's comments? I think a year is about right. I don't think you'll have to wait for HDTV to disappear before the 4k buzz kicks into gear; a 65" UHDTV Apple display will help up the momentum.

Tom Wolsky wrote: What were Philip's comments? I think a year is about right. I don't think you'll have to wait for HDTV to disappear before the 4k buzz kicks into gear; a 65" UHDTV Apple display will help up the momentum.

Phillip's interview with Rick Young at IBC on UHDTV
www.moviemachine.tv/video/comments-on-4k...p-hodgetts/77230136/

He followed up with this on his blog
www.philiphodgetts.com/2013/10/thoughts-...on-and-distribution/

My feeling is it'll take one to two years (I don't think it should take any longer) for the prices to be comparable. When they're comparable they'll be little reason to keep making HDTV sets. It'll still take about a five year consumer replacement cycle from that point. Of course by the time we get through the first year of that cycle the market may be large enough to have real value.

Note Phillip's comments on Panasonic's market share slide though. Although I wouldn't doubt that was a bit of "reverse" marketing on Panasonic's part. They don't want people to start delaying HDTV purchasing waiting for UHDTV price drops.

All very sensible, but I think the marketing push will make 4k the new Full HD within two years. Don't compare it to 3D. That was a non-starter. Wear special glasses to watch TV? Give me a break.

So I noticed something new tonight. I upgraded to Mavericks yesterday and tonight I was importing some media into an Event in FCPX (10.0.9) and saw two new locations in the import window - "home" and "net" I haven't seen these before, must be a hint of things to come.

daviddelreal wrote: ...saw two new locations in the import window - "home" and "net".

Any drive you have that your Mac can read, FCP X will read. What exactly is that physical "net" drive?

BenB wrote:

daviddelreal wrote: ...saw two new locations in the import window - "home" and "net".

Any drive you have that your Mac can read, FCP X will read. What exactly is that physical "net" drive?

Well that's what is so interesting, I only have two drives attached "Macintosh SSD" and "Scratch." The other two I know nothing about..."home" and "net" are not even any drives I own. I'm just wondering if FCPX is now trying to find network drives? BTW, I can't reproduce it now.

I just mounded a folder from a networked (Airport) drive on another Mac, and I could see it in the Import window. Not sure if that is new or not. Anyone know?

Some more stuff I discovered with iMovie 10, which should be true of the next FCP.

- Used ranges on clips are shown in the event browser for the currently loaded timeline. Very cool!
- Databases seem to be much more efficient. Loaded up my stock video audio collection, 655 clips, in both FCPX 10.0.9 and iMovie 10. Current Version Event Database is half the size in iMovie 10. 10MB verses 22MB.
- Event Browser load scrolling, especially Filmstrips is night and day faster than 10.0.9, it feels just like it should, super smooth.
- Launch time is much improved. As is switching between large timelines.
- Background tasks have time remaining estimates (I kinda doubt this will show up in FCP)

Also, iMovie theater is a fantastic idea, and you can just drag movies to it and they will be uploaded and synced to all your devices for viewable in iMovie 10, iPad/iPhone and Apple TV. Perhaps theater will be utilized in FCP some how. I could see a "FCP Remote" app with Audio Mixing, timeline review and annotations, and FCP Theater.

This is all great stuff, tpayton. thanks for digging around.

If the screenshots are legit, I think my dream of a more organized timeline based on Roles may be MIA from what we get in December.

I think the BIG advancement for 10.1 might be out- Event/Project restructuring, and all the media management changes/enhancements that would go along with that.

I'd love there to be a lot more, but I'm going to keep my expectations in check for now.

Thanks for sharing your experience, Tim. I am enjoying iMovie X as well. I might consider taking this with us on a laptop next week to cut on-site reports of a national sports event and upload the reports while the event is going on. Exciting times ahead

- Ronny