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Re: Why the urgency to jump to Avid/Adobe RIGHT NOW? (kinda long)

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Walter Soyka
Re: Why the urgency to jump to Avid/Adobe RIGHT NOW? (kinda long)
on Jul 21, 2011 at 4:29:11 am

Chris, I'm following you into the woods again. Color management is a good thing, but it cannot replace traditional monitoring in all workflows (see my comments below).

But this is all off-topic. The question is, why is there a sense of urgency around the transition?

FCP7 was getting dated. Some editors were only staying with FCP7 because they believed FCP8 would work for them.

Then we got FCPX, and it's not FCP8. It doesn't do everything that FCP7 did, and video monitoring is one of the biggies for some editors (including one of the parents of our posts here). Other NLEs have monitoring today, so that makes them better candidates for those workflows.

FCP7 is EOL, and Apple has not provided a migration path. Every FCP user must migrate if they want to move forward. Considering all available options is the prudent thing to do.

FCPX has some great new features which you have been rightly calling attention to, but it's clearly not right for everyone. It works for some workflows, and it doesn't work for others. Some people will wait with FCP7, some will jump immediately on FCPX, some will migrate away to another platform and not come back, and some will migrate away and then return when/if FCPX becomes suitable for their workflows.

Why do you care so much how people feel about FCPX to the point where you try to push it on people that it's clearly inappropriate for, or insist they hold fast on FCP7? If Premiere/MPE or Avid/AMA is a better option for them today than FCP7 is, let them go. As FCPX evolves, they'll come back if it becomes better suited to their workflows, or if the market mandates them to.


My off-topic thoughts on color and color management follow below.

[Chris Kenny] "Err... it sounded like the "wide gamut monitors" you were referring to were something other than ColorSync-calibrated computer displays. Reading it again, I'm still not entirely sure I understand your position."

My position is that ColorSync may be better than nothing, but it's not as good as hardware calibration in the monitor. I'd further suggest that a well-calibrated monitor like an FSI fed by HD-SDI is far simpler solution for many applications.

Have you ever actually tried ColorSync for soft-proofing video? I have. I've seen it work well, and I've seen it fail. I saw banding in soft proofs on a calibrated monitor in color-managed apps that didn't exist on the reference monitor. I'm not sure if this was a limitation or failure of the calibrators, the panels, or ColorSync, but the discrepancy was very noticeable. If I had believed the managed computer monitor and introduced some noise to dither the banding, I would have needlessly trashed the real image.


[Chris Kenny] "If by "black levels" you mean the physical luminance of full black, this varies widely across displays and projectors in general, even professional gear, especially across different device types. I don't see this being a major problem."

This variation is the reason that reference monitoring exists.

Even if you don't care about having truer blacks, how about other physical attributes of the display which ColorSync cannot compensate for, like viewing angle color variation and backlight uniformity? Panels and displays that minimize these problems which affect color are expensive.

I love color management, and I think it's one of the most under-appreciated new features in FCPX -- but it will not make $200 monitor perform like a $5000 monitor, it will not allow external signal evaluation, and it does not meet the "FCP has no video output" objection.

Walter Soyka
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