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

I repeat: you still have the way to finish your job. Look at FCPX as a "speed" plugin you use to make things faster. Is audio a problem? Export tracks! Is it a long process? Yes. Does managing RED files straight out of the HD without conversion with virtually no render cc or compositing compensates for that long process? Yes, absolutely. The rest will come. But a fact remains: you are not stopped. FCP7 still works.

It's not the point that I can still do my work in my old banged up Fiesta, I know that (thank god!). The point is that you cannot do your work that you were used to in this "new" product that finally would introduce 64bit processing.

Its like a car where they forgot to put on the windshielf wipers, the blinkers and the bumpers, the airco and god knows what, which your old version did have.

Only fanboys can not critize a product that is more than worthy to be critized. After all Apple positioned this as the new Final Cut. If they positioned it for what it truly is, a polished iMovie I would not even have bothered to look.

<Edited by Host>

phonax wrote:

.....After all Apple positioned this as the new Final Cut. If they positioned it for what it truly is, a polished iMovie I would not even have bothered to look.

If Apple had sold this as an awesome new iMovie X they would have been hailed as heros. It's a **** fine upgrade to iMovie, but it's NOT an upgrade to FCP 7 (which by calling it FCP 10 is what they are implying). It's missing so many features.

Forget that it could be awesome by version 3, what I am supposed to do with the investment made in version 'X' (10 !!!!)?

This is iMovie Pro (X) not FCP X. Sorry Apple. We're a Mac shop but you may just have killed that going forward. If we can't have a professional product, rename it iMovie X and everyone will love you for it.

Change the way editing is done? Yeah, we've gone back 10 years to a feature set that can't be used for serious multi-camera events. I don't want to pick one shot, drop it in to the time line, enter a keyword and look for another shot, I need all my shots sync'd so I can cut between them.

The minimum you should do is add XML exchange with FCP 7 so at least I can 'start' with a sync'd timeline and bring it in to FCP X! Maybe then I can get where I need to go using a combination of the two, but as it is, FCP X is going to the trash.

Phonax, I do not see the reason to insult. I AM PERSONALLY ABLE TO DO THE SAME WORK ON THE NEW FCPX. I receive just digital files (alexa or red or 5D) since 2 years. NO TAPES. We deliver to broadcasters using Adstream, tapeless! The only small problem is the audio, that you have to send to facilities with the dear old beep to sync and separating the tracks. But our normal FCP pipeline is actually MUCH easier than before! You insult me, but it's clear that YOU didn't evolve to an entirely digital and tapeless pipeline!

I receive RED FILES, I don't need to convert it, I can cc straight in FCPX without exporting to Color, and compositing is exactly the same, even better, using a seamless Motion integration, EXACTLY AS IT WAS BEFORE.

YOU ARE OLD.

How can you possibly do critical colour correction in a system that does not allow you to monitor output on a grade 1 monitor? Well?

@Phonax

couldn't agree more!

@Alessandro

and what work do you do on the new fcpx?? I do wonder, as you say you are able to do the same work on the new FCPX? there is too much lacking to even call it a NLE, or do you consider this as an NLE.

I am still waiting for the reply from apple when they are looking to upgrade this software to a usable pro-app, as today it is really iMovieX.

When you open fcpx, first thing is about importing iMovie events, *** - made me shiver.

I have downloaded the add-ons - which give access to more formats, but that is not really the issue, and if you re-read the threads here, and do a twitter search for #FCPX you will see the whole industry screaming. Apple set us up, and I am afraid many will look elsewhere now for the tools of the trade.

Full HD tape acquisition is still a commercial viable medium to capture footage, our last project we opted for 12 Sony F-900 to shoot the new Iron Maiden, Rush and Motorhead DVD, reason was workflow and speed of delivery. No DITs needed on set, no backing up of files etc etc... I really do not understand your argument, that you can do all your work on FCPX when the rest of the industry obviously can not... please explain

Indeed CC on FCPX is not up to the task - give me a da vici!! integrate that into FCPX then its a different story 🙂

Alessandro you are right I should not have been personal!

However I don't know how you do your work, you cannot even edit on a grade-1 seperate monitor, so how do you make sure your color correction is correct.

Also you cannot use simple compositing like Alpha-Luma Masks or Add, Substract (at least I could not find them) stuff I use on a daily basis to easily enhance colour depth and provide that 35mm look.

Also multicam editting is something I do and actually moved from FCE to FCP for only for it now to be removed again. You can argue a lot but you cannot say that this product is suited for complex compositing and multicam work. And I do not even use tape so thank god for that.

Luke, still waiting for the link to Apple saying all these feature will be coming soon.

Dominic Witherow, do you REALLY know what a grade1 monitor WAS? Do you really think that main manufacturers are still keeping different lines for "grade1" and "consumer"? And, moreover: you know, I see slightly more red on my left eye. What does it means? It means that at the end, keeping levels in check WITH INSTRUMENTS, you can do EXACTLY the same job with you computer monitor. Yes, it should be a good one, i.e. an EIZO. And quess what: there's a major UK company that uses plasma screens to use it as monitors.

And if you're still not satisfied with it... how long does it takes to export a TGA seq, get in your preferred cc room and perform what you think is best? There's people that still asks for offline-online workflow, with tapes and all. Use the technology. Nope, you do prefer to load tape footage, edit, edl, load footage to a cc suite, output, load it on a finishing machine... Pretty time consuming.

frankfromstavanger: it is a kind of a paradox, but at the end it's all a matter of what do you need to do. You have a workflow heavily depending on tapes. I understand your problem. I do not have that problem. I do not use tapes. I do a fair amount of effects on motion. I do not do 2-3hrs timelines, I mainly do commercials, broadcast bumpers and MTV graphics. For MY kind of job, FCPX is REALLY ok. For me tapes are old, and realtime effects are a must. When I had to switch from Quantel to "Discreet" I had to learn completely new thing, and the first Flint didn't have things that were common in Henry. But boy if flint was better at the end! It all depends on what is the result you need and ho long does it takes to get there. My workflow BEFORE needed conversions from RED camera, output to Motion/shake/after effects/Color, with just motion supporting realtime effects. Now I can drop conversions (**** I can even work while I load!) and everything becomes realtime.

Is FCPX perfect? NO. Is it a disaster for my needs? Far from it. Am I in danger with clients trying to work on it? No.

That's why I say: what it is all this about, with people insulting and yelling? It is a 300$ piece of sw.

Do you remember when everybody was yelling at the lack of a floppy on the firs iMac? Same problem.

This is iMovie Pro (X) not FCP X. Sorry Apple. We're a Mac shop but you may just have killed that going forward. If we can't have a professional product, rename it iMovie X and everyone will love you for it.

Sorry Apple fanboys, but I am fed up with you guys saying "the pros are just haters -- give version 1.0 a chance, it's a new app".

Rubbish. In the GetInfo window FCP X is described as Version 10.0, so stop calling it V 1.0.

It's also got the 'X' in the name, which 99.9% of people could reasonably assume meant '10'.

Plus, there's Steve famous emails: "Next release will be awesome" and "Stay tuned and buckle up".

Perhaps he meant "awesomely bad" and "buckle up for the train wreck".

Like most FCP 7 users I expected FCP X to have all the feature set of FCP 7 plus 64-bit and background rendering. If I'd got this I would be over the moon. Instead I got an app that, whilst it has some really clever stuff underneath, can't open FCP 7 projects, can't import XML files, can't export to tape, can't........ etc. Epic fail IMHO.

The real kicker is the brazen dishonesty displayed by Apple here. If they'd labelled it as iMovie Pro I would have understood, applauded and ignored it as not suitable for my needs. But instead they sought to *** me. A major mistake. This is a threshold moment in Apple's credibility, and it goes beyond FCP.

http://www.fcp.co/final-cut-pro/articles/434-the-top-ten-editors-concerns-about- final-cut-pro-x

-=Tim=-

The bottom line is that this is not a finished product and nobody should have paid $300 for it now, no matter how soon the "updates" will come. Although I don't consider it an update if it just reinstates features that never should have been removed in the first place.

This should have been a free beta download. Had they done that I'm sure you'd just hear people saying that they don't like it or it needs this and that. But the fact that many people plunked down $300 for software they can't use is the fuel that is feeding this fire.

Tim,

None of those features are anything to get excited about. They are just things one would naturally expect to be there.

Here is a top ten list from the other side of the argument:

- EDL import/export

- XML import/export

- Custom window layouts

- Logging/batch capture from tape

- Playout/edit to tape

- Plug-in support for all (or as many as possible) old plug-ins.... not just FXFactory.

- Ability to set arbitrary codecs for the timeline... particularly ProRes LT

- Better support for direct ingest of XDCAM / MXF / P2 etc etc...

- Ability to switch anamorphic view on and off easily.

- Multicamera/multiclip editing

- Chapter/score markers

- Ability to set custom start timecode (UK broadcast is 10 hours)

- Easier way to share project file with colleagues

- Ability to completely switch of Magnetic Timeline

- I don't believe you can change track size or turn tracks on/off easily.

Hey Dave. I'm searching for info on the claimed PluralEyes feature of FCPX. I've tried with a number of 5D and Zoom files and the results are a total cacophony/mess. The Apple instructions just say it will work without any support. Any advice or urls of people discussing you've found? Thanks.