The WAV’s were of course all nicely labelled with iXML channel names. To save some headaches, I decided to sync the files in FCP X while they watched the footage and then export multichannel QT’s that they could work with. Bad audio isn’t Premiere’s fault of course, but Premiere does use tracks, and Track Tetris with unlabelled multichannel clips sucks. It may be a network bottleneck, but I made duplicates in FCP X and they played fine.Īlso, the audio was a mess, difficult to tell who was on what track, and all of it was noisy and/or over modulated. We had a little difficulty synching the audio but got that sorted out. Next issue… We made multicams but, even though there are only 2 angles and we used the ProRes files, they were not playing smoothly at all. Right off the bat there were a couple issues. Easy right? It was a quick turnaround gig, first cut due the middle of the next day. We got the sources, R3D 4k files, 1080 422 HQ ProRes transcodes, and multichannel WAV location audio.Īs it was a 1080 delivery, the plan was to use the transcodes. It was a short piece, a couple minutes long with about 8 takes, 2 cameras rolling on each.
So… the other day we got a gig which we planned to cut in Premiere. I Just ‘rediscovered’ it and I think it’s worth throwing up here 🙂 DAY ONE I wrote this a while ago but for some reason never posted it. It’s gonna be a great film! The working title is STFU. Well… until I shoot my new spec script on my new iPhone that I don’t own yet. Cinematic Mode seems very cool too, though I’ll probably never use it.
Final cut pro x windows#
It’s ridiculously simple, and you can kinda mimic Power Windows for color correction with it which is very handy. I use the shit out of Filmstrips, Clip Skimming, Roles, Lanes, Audio and Video effects, and everything else that is built into FCP.Īnd now, I’ll be using the new Object Tracker too. I use the audio signal path features all the time. The lack of a mixer, or collaboration or whatever doesn’t change the fact that I can cut faster and have more fun and be more creative in FCP than any other option.Īs for all the ‘useless’ features the have been added over the years… I actually do use 3D text. But their absence doesn’t change the fact that cutting in FCP kicks ass and, like all the previous updates, this latest version has some great additions. What’s the big deal?Īnyway… I do hope FCP get the ‘missing’ features we all crave. If I need to open an Avid Bin, I use Media Composer. (while finding shots and doing quick comping in FCP) If I need to do compositing/color stuff FCP can’t easily do, I jump into Resolve. If I’m part of a team using Premiere, I use Premiere.
I’ll spare you the re-hash of why I prefer FCP and use it alongside other NLE’s when I’m using them. Easiest on the eyes and, because of the trackless timeline, the easiest to just… cut. Easiest (only?) NLE to do great titles/GFX/compositing without leaving the timeline. Easiest by far with which to find images (Filmstrips and Skimming). Broken record here, but for me, FCP is the easiest, most enjoyable app to work in. I mean, when FCP can’t do something another NLE can, I just use another NLE. If Resolve or Premiere or Media Composer or Lightworks or Lumafusion or whatever better suit your needs… use them.
Final cut pro x upgrade#
(especially the mixer thing 😉) But I really just don’t understand people who are/were champions of FCP, constantly announcing to the world their intention to jump ship with every point version upgrade of FCP. Now, I should point out that I would love it if any of those features were to appear. It never fails… Excitement builds! Rumors fly! The big day arrives and… it’s just not enough! No Roles mixer! Can’t flatten multi-cams! No built in collaboration! Etcetera! Apple.
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