According to what Apple told me, the native camera support still requires that files be wrapped as QT. That's what happens now when you import AVC-Intra P2 files. Just as with Log and Transfer in the past. This makes me wonder whether the RAW settings will be exposed as they are with Adobe.
This was true in FCP Oliver, but when the RAW files were in Apple Color then it was the RAW that was being accessed.
I appreciate and admire what adobe is doing but Premiere is not a great editor and AE is a great compositor not a color corrector (even with a plugin) I think that FCP X might use a QT wrapper to get the file seen, but there should be a mechanism to read the RAW file.
If they use the edit proxy and then its one click of a keystroke to get back to RAw for a final grade and render after the edit then I think it will be a better tool in the long run, especially considering how FCP X handles meta data.
Worth watching, but RED is also going to have to want to do this as SONY has already demonstrated 4K in FCP X. Itàs not RAW but that is going to be an ALEXA style workflow (whihc people seem to like) but with 4K data instead of 2K.
Post production is what could give TV series a big reason to move to a prorez style workflow.
I prefer RAW and I want RAW to win, but prores vs. raw is turning into the VHS vs. Betamax of our times. One would hope that REd wants their material edited in FCP X software offering.
[David Battistella]"This was true in FCP Oliver, but when the RAW files were in Apple Color then it was the RAW that was being accessed."
Thanks. Yes, I know. I'm not really enamored with a true native workflow either. It really bogs things down in a complex long-form project. I'm actually working on a RED film now. Grading in Color and accessing r3d files. I think the difference is that Color, which was developed outside of Apple, could always address media other than QT-wrapped files. Hence, the Color team (or RED) developed a plug-in to deal with the native files. FCP has always been tied to QT and it appears that FCP X continues in a variation of this. Maybe just to make a common media format for SDK purposes.
[David Battistella]"SONY has already demonstrated 4K in FCP X. Itàs not RAW"
I believe this will take the same form as AVC-Intra or EX. The files will still have to be copied/ingested. Although the SR codec will be native, the file itself will still require rewrapping in a QT container. At least that's what Apple directly implied to me. This is currently part of FCP X's "import from camera" and "camera archive" routines.
[David Battistella]"Post production is what could give TV series a big reason to move to a prorez style workflow."
That's already happening with Alexa. Makes post a true piece-of-cake. I work with Alexa files all the time. Although I see a lot of advantages to the RED RAW workflow, it does take extra time, which is not the case with ARRI.