Who is using fcpx

Does Avid or Premiere Pro?. The answer is, no single NLE fits everyone's professional workflow. If you have your own definition of professional professional - engaged in a specified activity as one's main paid occupation rather than as a pastime or other special requirements or workflows working with proprietary hardware, software, editors or producers , you'll have to decide which NLE is right for you.

You might have a different question, but the professional question has been answered. Surprise when we first hear a fellow editor rave about FCPX.

Followed by a willingness to give it a shot. And the process is so much more efficient than anything else out there that I now get frustrated every time I have to return to a track-based workflow. Note that neither of these are tutorials. The summary section will offer tutorial resources if you choose to dive deeper.

Avid and Premiere are far more similar than they are different. When it comes to organizing footage, both use bin structures and clips in the bins. I said it goes one step further in film-strip view, you need zero clicks, and you see everything! Documentary filmmakers? A last-minute addition, but a powerful tool deserving of its own section. Think of it as nesting born on Krypton and sent to Earth to be powered by our yellow sun, and now it can leap buildings and is frequently confused for an airplane.

This biggest kahuna of them all! Just like all roads lead to Rome, all tracks lead to…uh…inferior editing systems? A boom mic. Perhaps five lavs. A couple of plant mics hidden in the corner. Plus the stereo mixed tracks from the production. Just for production sound!

On FCPX, your 10 channels of production audio are collapsed into one single container. All easily accessible and editable. Turn them on or off as needed. And yes, the mic names can also be shown on the clips themselves, for true ease-of-use.

Spoiler alert: Final Cut wins. By a lot. It is not perfect for all scenarios, and I go over the downsides. I also mention several third-party solutions that work beautifully with FCPX, and list some tutorial options if you want to give it a shot for yourself. But if you are willing to put in the time and open your mind to learning a new workflow, it will pay off. The video gives just a taste of some of the massive timesavers Final Cut has to offer in day-to-day editing.

There are many more, but I figure minutes of me is enough for any mortal. As of this writing, I start editing another feature film in four days. And guess what? I've been using FCPX since it came out back in I really don't get why FCPX gets so much backlash from editors. Every linear editing software does basically the same thing, only FCPX will do everything faster. Why is it that almost every job posting for editors is always looking for either Avid or Adobe editors?

I'm right there with you, but it's come a looooong way since , it definitely had it's limitations at first but the updates have made it better and better. People were just put off by the fact that it looked similar to iMovie initially. It was weird at first but as soon as I realized I could just hit "P" and effectively turn off the magnetic timeline it was a joy to use. I am unfortunately seeing my self moving to Resolve just for that FCPx has the best workflow as far as I am concerned But the rumor mill is implying that we may saw that support with the next update this fall.

Again, that is just the going rumor. Maybe it comes with the We'll see. I would LOVE this indeed. The trackless, magnetic, easy-scrubbing, keyword goodness of FCPX is the future, whether it's in Final Cut or some future software.

And while I agree that an appeal to authority is not a true logical argument, it can get you a hearing with people. FCPX is my one true love. Looked at the "searching' video and I was very disappointed, there is nothing I was shown about visually searching through clips that is any faster than using timelines and pancake editing in Ppro. Why use bins when you can layout your assembly on a timeline, why use keywords when you can use markers, why use selections when you can use both tracks and select reels to condense and focus your searches?

There is absolutely nothing I was shown that I can't accomplish in Ppro without loading individual clips into a viewer. That is a strange comparison. Select-reels are inherently one-dimensional, that is, only operating on one search criteria — and once they reach a certain length, searching through the select-reel becomes its own headache.

It is frankly an obviously superior, metadata approach to organization. And much cleaner looking. Also, what you are describing requires an added layer of refinement, of pre-selection, which not every project has the time or need for. Sometimes you just need to edit the clips that you've got — and then FCPX is miles ahead. The FCPX film-strips are just so much more visual and immediate and "tactile" than scrubbing through a pancake timeline.

FCPX excels at giving you a scalable overview of your footage. For you, the search functionality inside of FCPX may not be as strong or stronger than using pancake scrubbing and markers. What I can say is, the advantages that Final Cut Pro does offer over Premiere allow myself to be as great without as much effort. In the end, I respect both. Excellent summary. I just love it! FCPX really supports my creativity and fast decisions. It's truly brilliant.

It took me a few years to realize that. I've been a Final Cut editor since 1. I'm jealous that you have been able to get jobs using FCPX. Are you convincing them otherwise or what? You may be the only person I know who has used the Imix VideoCube aside from myself! Blast from the past.

Most of them have required the producers wanting to hire me, and me wanting to use FCPX. Two weeks. Maybe because I had edited with FCP legacy the previous 10 years or so that it was hard to bend my mind to edit differently. Especially given at the time FCPX couldn't handle basic stuff like multicam But running a full time wedding film company I didn't have time to play any further and went to Premiere and never looked back.

Well, to say I never looked back would be not entirely true. Premiere often have bugs that drive me insane. A science fiction adventure, this film performed so badly at the box office that it caused major financial problems for its studio Disney.

The editing of the John Carter movie was a particular challenge as a lot of the action was shot twice during the troubled production. With a huge range of CGI and creature effects to deal with, the editing process on this movie was extremely complex. Final Cut Pro was used to create a lot of the background detail need to bring the green screen scenes to life.

Because the storyline of the movie unfolds in a non-linear timeline, the workflow feature of Final Cut Pro made it easier to manage the sequencing of the different scenes. There were also invisible effects which were created using Final Cut Pro's editing features.

Continuing the X-Men franchise, this installment traces Wolverine's childhood and the relationship with his brother. It didn't really appeal to X-Men fans or movie critics. There were a number of continuity glitches identified during the production of this movie but De Toth and Gill used Final Pro Cut to keep a consistent flow to the narrative. What is interesting about the editing on this movie is that all the cutting of the scenes required was done on Final Cut Pro 5, taking advantage of the software's HD abilities and also the multi-clip features.

A black comedy from the talented brothers Joel and Ethan Coen, they wrote, produced, edited, and directed the movie. The Coen brothers used Final Cut Pro on this movie because it was simple and easy to use - they were blocking together the rough cuts as the scenes were being shot, and Final Cut Pro gave them the flexibility that they needed to edit quickly. On this movie most of the action was shot using Sony cameras but there were several scenes on which a RED camera was added when an additional camera was needed.

Even though there is a significantly different workflow between the two types of camera, the RED material was able to be integrated smoothly with the Sony footage. Directing and editing a movie brings the two processes a lot closer together for the Coen brothers. An easy to use product such as Final Cut Pro ensures that they can construct the movie's narrative using the timeline features of the product.

Based on a graphic novel by Frank Miller, this is the fictionalized retelling of the Battle Termopylae - part of the Persian Wars. Directed by Zack Snyder, the movie was filmed with a super-imposition chroma key technique to help replicate the imagery of the original comic book. Editing on the movie was by William Hoy.

To capture the graphic novel look and feel of the film's images, editor Hoy used a number of the key Final Cut Pro features such as the adjustment layer and blending modes to create depth and mood. With the look and feel of this movie so dependent on the effects created, editor Hoy spent a lot of time debating what was being added visually to each shot and how this would impact the length and continuity of each scene.