APPLE FINAL CUT PRO: Apple Final Cut Pro X FCPX Debates FCP Legacy FCP Tutorials

Re: Apple and Thunderbolt 3

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Bill Davis
Re: Apple and Thunderbolt 3
on Apr 25, 2016 at 1:38:00 am

If the functional cutoff is that if you're doing a movie up to the level of WTF (just 1200 basic VFX shots and a desire to keep as much as possible of the work in house and on-set) VERSES our movie has 1500 VFX shots that require uber-complex wire-frame photo-realistic characters and the creation of whole worlds so we're just doing the simple pre-vis and farming most of it out to the big effects shops - AND if the argument is that I can now do the former with something I can buy from the Apple store - and the latter requires a post production tech department that can swap out GPUs as they self-combust...

You know, if I was working in the film world, I think I could live with that.

I had the pleasure of a nice long one-o-one chat with Glenn Ficarra at NAB - and he was pretty clear that one of the primary things he really enjoys about working with his new FCP X workflow is that he's excited by the possibilities of doing more of the overall work directly, without having to send nearly as much "outside" in order to be able to see the results after some third party gets their work done.

I "think" this is what Michael Cioni was referencing in his pre-nab conference comments about working "directly with the O-Neg" Clearly what today's digital file systems consider as the "original negative" is NOT the same thing as it was when the term applied to film and I understood that to indicate the cloned files they were using were exactly identical to what would show up on screen in the theaters - (suitable processing and grading and sound mastering expected down the line). But to never have to "dumb down" a shot for screening purposes - and to be able to comp temp effects that look more like what you're trying to achieve, earlier, must be a nice thing compared to the way movies have been made for most of history.

Of course I'd expect for an effects-heavy movie like Deadpool, that more "in house" approach is not possible with every scene or shot regardless of what software it's cut on. (And for all I know, they're doing exactly the same "working on essentially originals" out of Premiere Pro)

But that a more internal and "on-set" workflow IS possible for a movie like WTF that can share the same multiplex where any other Hollywood film is showing sure seemed to be something Mr. Ficarra found VERY useful and appealing.

And it seems pretty awesome to me as well.

My barely educated about the film world 2 cents, anyway.

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