Clam Down...Apple says missing features coming soon.

neilk2350 wrote:

how come with all the people mad about this there are only 600 negative reviews in the app store. the more people that rate and review it poorly the quicker it will get fixed

I have put my long review up, and also left it as feedback at Apple, and have put up multiple other feedback when I have found other features deficient.

Do you never need to interact with colourists, vfx artists or audio houses?

Yep. TGA. Or Motion. Or AE. Or NUKE. Audio: minor problem. Commercials, not a huge amount of cosmetics to do, but... track export with a ref beep is an old and effective workaround, if you really need help.

Alessandro Gaieni1 wrote:

Easy for me: since 2 years ago I never sent a tape to broacasters. Just files. I cannot send tapes. They refuse it. In Italy all major and minor national tv broadcasters are on digital delivery, http://www.adstream.com/

I'm not talking about tape, my primary output is not tape either, but it is still aired on Broadcast Television, and there is sort of a need for a client monitor to see color and detail on a bigger screen, especially when you are showing it to CLIENTS.

A movie screen has never used tape, I produce commercials that run on movie screens all the time, sometimes when you edit on a small screen like the small one in the application you miss details. Then you look at it on a larger monitor and go "Oh crap, I didn't see that in the application monitor, I had better fix that." If the 1st time you see a mistake is when it runs on the movie screen in the theater, there's nothing you can do. And you look like a fool to your client.

Or, when your client shows up to review the project and says "Is there a bigger screen I can look at this on?" and you say "No". Yeah, that's just bad customer service.

If I gave a colourist working on a DaVinci suit or Spirit Revolution or Baselight a quicktime movie with nothing more than a reference beep they would be very ****** off indeed! Surely if you are working in commercials you have needed to generate EDLs, even for purely digital workflows?

I don't see how anything about FCPX helps with a Nuke workflow either. And what about Flame? Still need to conform even with digital workflows.

Ok, looks like I need to explain our main workflow. Since 2 years ago we no more receive tapes. None. Stop, dead. Just HDD with mainly RED, ALEXA or 5D files. No need to upload from tape. Now: if you try and send an edl to a colorist referenced to a file he will laugh at you. We send mainly DPX or TGA sequences. Can I convert to TGA with FCPX? Yes I can.

What I'm saying is: for MY needs FCPX is fairly OK as it is. Is it on par with FCP7? Nope. But it's far from a disaster for me. It is a disaster if you rely on tapes. Not so if you are in a completely tapeless workflow which I'm used to.

Yes I know the adstream workflow... but....

How do you conform your DPX sequences without an EDL?

What is the point working in these formats if you cannot preview them over HD-SDI? Surely your clients will expect to see it on a TV/bigger screen/broadcast monitor?

FCPX doesn't support RED raw or Arri raw (yet?).

Do you never have clients who shoot on HDCAM SR with cameras like the Sony F series?

Do you not need to do harding tests etc? Or have you got access to a version of that which allows input of digital files?

Alessandro Gaieni1 wrote:

Ok, looks like I need to explain our main workflow. Since 2 years ago we no more receive tapes. None. Stop, dead. Just HDD with mainly RED, ALEXA or 5D files. No need to upload from tape. Now: if you try and send an edl to a colorist referenced to a file he will laugh at you. We send mainly DPX or TGA sequences. Can I convert to TGA with FCPX? Yes I can.

What I'm saying is: for MY needs FCPX is fairly OK as it is. Is it on par with FCP7? Nope. But it's far from a disaster for me. It is a disaster if you rely on tapes. Not so if you are in a completely tapeless workflow which I'm used to.

Why do you keep talking about tapes? I don't use tape as my primary workflow either, and this program would be usless to me. So you're editing 2 and 4k stuff shot on a Red or an Alexa and just looking at it on a tiny software monitor? Ok.

RedHavoc wrote:

Yes I know the adstream workflow... but....

How do you conform your DPX sequences without an EDL?

What is the point working in these formats if you cannot preview them over HD-SDI? Surely your clients will expect to see it on a TV/bigger screen/broadcast monitor?

FCPX doesn't support RED raw or Arri raw (yet?).

Do you never have clients who shoot on GDCAM SR with cameras like the Sony F series?

Do you not need to do harding tests etc? Or have you got access to a version of that which allows input of digital files?

I don't see native P2 or XDCAM EX support either, and those are my 2 primary formats. But hey, I could just get rid of my HPX-370 and shoot college football games with a DSLR camera, or a cheep AVCHD camera from best buy. Fox Sports will love that!

Likewise, XDCAM EX is my main format. I'd rather not have to convert to ProRes always - no need to!

Without log and capture there needs to be a new way to load XDCAM footage straight in. Sony are always a bit slow, so I can only hope...

Yes, I can use XDCAM Transfer, but my timeline will still be ProRes. And I am pretty sure XDCAM Transfer has been officially discontinued by Sony (despite being available to download still) - yet this is what Apple are recommending!!

I have not been waiting for a version of final cut that:

- doesn't support multiple cameras (when I have invested in multiple cameras)

- doesn't allow you to set scratch discs (when I have spent a fortune on external drives)

- doesn't support 3rd party hardware (when I have spent a fortune on breakout boxes)

- doesn't support tape (when I have hundreds of archived mini dv tapes that I sometimes use)

- doesn't support 3rd party plugin (of which I have bought more than a few)

I have spent the afternoon googling windows pcs and adobe premiere info. This is after I was convinced I was now a 100% Apple man (iMac, MacBook, iPad, iPhone and more).

This is meant to be a completely new app, but since they have taken final cut studio off the mac store, it looks like it is a replacement, meant to give the final blow to pros who have invested in apple. I feel sick thinking about it.

I have a 30" Cinema Display: I wouldn't call it "small". Neither "low quality". On 3 of our workstation we use EIZO. I wouldn't swap it with a Grade1 LCD.

Alessandro Gaieni1 wrote:

I have a 30" Cinema Display: I wouldn't call it "small". Neither "low quality". On 3 of our workstation we use EIZO. I wouldn't swap it with a Grade1 LCD.

Why, you can't get proper television color on it? You need proper video outs and a calibrated Grade1 LCD for that!

@redhavoc you can do harding tests here with digital files Onlineflashtest.com

works very well.

adam

alexgrainger wrote:

- doesn't allow you to set scratch discs (when I have spent a fortune on external drives)

Actually you can store any project and/or event on it's own scratch disc (any disc) in FCPX. The project becomes a directory, where you have your project file and all files related to it. The project file is called CurrentVersion.fcpproject in preparation for the new Lion OS X built in versioning control.

I'm not defending Apple, I'm disappointed as **** too, but this the direction where Apple is leading its apps.