Kalechi Noel

Honestly Tyler ... the more you respond... the more your age is showing... No disrespect to you, but Making statements like this make you sound very old and antiquated. If anything, a more accurate and less ignorant statement would be, "it was designed for editors who were open to try a new approach to editing". FCPX was designed from the ground up to take advantage of and more efficiently work with clip/ file based workflows in today's digital media age. In a world where content is being acquired in 4k on devices like iPhones, GoPros (in additional to Red / Arri, Black Magic camera) ... and in a world where a lot of content is being consumed on the web in 4k... (Netflix 4k, youtube 4k, Vimeo 4k)... FCPXs approach to editing makes it light years ahead of the competition for easy editing and delivery. I believe Avid just allowed 4k editing on it's timeline for the first time last year....where premiere and FCPX have been doing this since 2011. With Red Dragon 6k coming out, and Red weapon 8k on the horizon... Avid (like many of its editors) , will once again be playing catchup (which is one of the reasons they are losing marketshare and taking losses every quarter). Uhmm... and what if you sat down with me for 5 minutes and I showed how this can be done more faster, quickly and more efficiently in FCPX.... then what would you say? Guess what, there is a different way to get this done!! Like i said earlier, just because something has been done a certain way for 10-15 years... does NOT mean that's the only and best way to do it. Rules/ like standards can easily be broken, changed, and/or improved upon. With Camera technologies changing so rapidly these days, a track based editing standard from the 90's just isn't the only way of editing anymore Tyler. .... uhmm, FCPX does that , and then some. You are wasting your time mentioning features FCPX already has built in. To further enhance that experience, 3rd party software like "Producers best friend" and "Sync-n-Link" by IntelligenceAssistance further take advantage and simplify the metadata search functionality even more on a micro level allowing editors to search DIALOG , specific words and sentences , right there in the NLE. I wouldn't be surprised if this software and functionality is available on Avid, but this just illustrates that FCPX is right on par with the competition, and in some instances, Ahead of the competition. Uhmm, considering Michael Cioni and LightIron are one of the first pioneers of the RED Workflow and 4k Acquisition, which noticeable titles as (Girl with Dragon Tatoo, Social Network, Pirates of the Caribbean, and whole slew of movies and television shows they are credited with... perhaps you might be mistaken. Michael and his team are one of the leading advocates 5k Epic,6k Dragon and now 8k acquisition... offering on set DIT and consultations services for production utilizing this new technology. Your above statement simply says to me you need to do not know what you are talking about in regards to "light iron and Michael" and perhaps need to do a little more research before you waste your time and mine going on a pointless rant , mentioning techniques and features FCPX already has. So in conclusion, FCPX did a hell of a job editing $100 Million dollar Hollywood feature film named "Focus". If you don't believe me, ask Lead editor Jan Kovac, and question his knowledge. He does btw come from an Avid background. Times are changing Tyler... are you?

I seriously considered not responding to you earlier because i told myself i didn't want to get into another back -n-forth tit for tat over NLE's but here goes. Listen, Hollywood, (like any industry) has a system and formula in place, and it simply works... and it works well.... and it makes THEM A LOT OF MONEY. I don't expect anyone to change the formula anytime soon... BUT just because everyone uses it, and is accustom to it, doesn't necessary mean it's the best!. It simply means everyone is used to it. FCPX was rewritten from the ground up for a new breed of filmmaker and new breed of editor. FCP7, like PP, like Avid are all track based NLE's designed to be familiar and similar to the old way of editing film (which i know very little of btw). FCPX was designed for the digital filmmaker, with file based footage and camera metadata in mind. All this info is read by FCPx and organized accordingly allowing one to search through hours of footage by "camera model", "camera angle". One can keyword ranges of footage (i.e. 1:12 - 1:16) and label it "good insert"... and repeat the step across multiple clips, which all get archived into a "smart folder" with all the "good inserts". this is all done seamlessly and effortlessly. It's like a giant database. This approach allows for "no save" button function and unlimited UNDO's, because fcpx , like OS X, is constantly recording to this giant "data base". FCPX took away the tracks and introduced a new paradigm (the magnetic timeline) that blows out track based systems ONLY once you've taken the time to learn and understand it. Michael Cioni did a case study on FCPX and he himself said its the most Advanced NLE https://vimeo.com/73797466 (scrub to 13:41) ...and here's 3 little 2 minute videos demonstrating the power of FCPX editing RED Dragon Footage on a Volkswagon Commercial recently. Magnetic Time Line simplicity: https://www.youtube.com/watch?v=N1Ru...ature=youtu.be Organizing Footage: https://www.youtube.com/watch?v=MvZgB0z8oPQ Editing Live while Playing Back Footage: https://www.youtube.com/watch?v=nPQw...ature=youtu.be So, contrary to popular believe, it's not as mickey mouse, as many claim it to be. It's just been sadly dismissed because it's new, and radically different, and challenges people who've been taught a certain way of editing for the last 10-15 years , to learn a new way of editing. My entire editing staff have all been converted to FCPX and haven't looked back. They now do their personal projects on FCPX. Unlike Avid, Premiere , Theres no life-time monthly subscription model in place. It's simply $300 onetime, and with the mac app store can be downloaded on as many computers as you want using your AppleID. Again i'm not going to sit and debate one NLE vs another. I'm simply pointing out strengths of FCPX and how it can be useful in todays digital media age. For all the people that said FCPX isn't ready for primetime, "Focus" refutes that claim. Colorist Denver Riddle recently graded another major motion feature "just let go" which was shot on Red, and edited / graded in FCPX, and released in theaters. In conclusion, to each their own. All NLE's can get the job done... (some arguably better than others). If it pays the bills... stick with it. One thing i can say for certain though is that, all the editors who have actually given FCPX a try (edit an entire project, learning the In's and Out's of the software), have never looked.... and that speaks volumes. Cheers.

Not making this into a debate, and Not questioning your experience or the clients you consult for your ... but I actually own a Red camera.... Run a production company here in NYC, and all my jobs are shot on Red, and edited in FCPX. We do music videos, films and commercials. The workflow is simple. Import Native r3d files... transcode to Proxy... and edit fast and efficiently in 4k. When we're done with the edit, a simple toggle switch converts the footage to the high res Native r3d where my colorist works in Color Finale (Denver Riddle's Own App). For Davinci users, a simple xml roundtrip does the job. FCPx handles and edits my Native red files flawlessly. Yes, i do happen to own a new Mac Pro, but we also own multiple iMacs and our editors also edit on their laptops (in proxy). It's a bit too late, but the individual above needed to only edit in proxy, and when switch to r3d for grading. FYI, "Focus" was not shot on Red, it was shot on alexa in ProRes 4444XQ, (which FCPX imports natively and adds a LogC rec709 Lut instantly) without needing to render and transcode. It just "works". In Focus, What was so nice about theFCPX workflow was that editors began editing on SET while filming was going on. If you care, read the article on the workflow on Apple's website. Working with Red, you can stay in 4k, 5k, 6k, apply all the luts you want, right in fcpx with no render or need to transcode high res. FCPX was built from the ground up to take advantage and work seamlessly with Mac hardware. Yes , the industry is run on Avid, and PP has swooped up many of the other fcp7 users... I will never argue or debate that. But theres a fast growing user base of fcpx users out there and there's an even larger group of iMovie kids learning to edit on school iMac who are doing amazing projects in elementary high school who will switch to fcpx due to the seamless transition and easy learning curve. So the workflow is proven to work, and i'd challenge any editor otherwise. Cheers.

Much to late to respond to this , but the Individuals above are wrong. Yes, Final cut does allow to drag and drop red files. No transcoding necessary. No Rendering necessary. Just download the red fcpx plugin off Red's website and that's it. Drag and drop all your raw red files, and edit in 4,5,6k easily . You can also adjust the raw settings (i.e. temperature, tint) etc right from final cut pro X. Btw, for those above, FCPX was used to edit Will Smith's Focus. So do your research.