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Re: Final cut X A Diamond in the rough

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Andrew Kimery
Re: Final cut X A Diamond in the rough
on Jan 10, 2017 at 8:46:34 pm

[Scott Witthaus] " Adobe would have a very difficult time trying this."

AFAIK Adobe is split into three main silos; Creative Cloud, Marketing Cloud and Document Cloud. CC is still the biggest revenue generator, but Marketing is growing a lot (not sure about Document). Adobe looks to be someplace in between Apple and Avid in terms of dependence on the creative sphere for revenue.

[Scott Witthaus] "Avid has used this "aspirational" marketing strategy for years and one only needs to look at stock price to see how well that has done for them. It's not a smart strategy and certainly not a smart way to choose an NLE."

Don't all companies use aspirational marketing though? Ex. FCP's "In Action" page is populated with movies, TV shows, broadcasters and high-end commercials. It's all telling us that these high profile projects used FCP and you should too.


[Scott Witthaus] "Exactly. What product solves the problem you have. For me, the solution is not the fact that some movie or doc was cut on a Media Composer. But pose the product as a solution ("I need to have multiple editors cutting in various locations and need to be able to output multiple formats for different screens and regions, etc. . What system solves this problem...") and then you can more easily sell it.
"


If you talked with a product consultant of an NLE vender and asked, "I need to have multiple editors cutting in various locations and need to be able to output multiple formats for different screens and regions, etc. . What system solves this problem...?" I'm sure they wouldn't just start listing off names of movies and TV shows that used their NLE. They would give you a nuts and bolts answer and possibly mention a project by name that had a similar workflow as an example of their NLE executing that type of workflow successfully in the wild.

From an advertising standpoint though they have to do that in broad strokes and one of the best ways to do that is to highlight big, successful projects.



[Bill Davis] "That somebody could finally buy an inexpensive digital camera in like a VX-1000 or the Sony PD-100a, digitize the result into FCP Legacy on an affordable Mac via Firewire - and make a damn decent video master that you could duplicate and distribute via VHS - was TRANSFORMATIONAL in the spread of video as a communications medium. "

I think many things were happening concurrently and what we remember most probably depends on what circles we were swimming in at the time.

For example, during my first stint in Los Angeles in 2001 a lot of indies, docs, music videos, etc., (pretty much anything that was "budget challenged") was being done on FCP primarily because of cost reasons. Many post facilities I'd been to had it running on a machine somewhere just to experiment with it, and, to Shane's point earlier, I think it turned into the go to NLE for side projects & home offices because of it's price point and feature set (it certainly struck a chord that other 'inexpensive' NLEs like Vegas and Premiere had not). Once 'Hollywood people' got used to FCP on small projects they started migrating to bigger and bigger projects. IIRC this is how FCP displaced Avid at Bunim/Murray. They were using it for small things, saw how capable it was (and that it was a few zeroes cheaper than Avid) and transitioned to it in 2004-ish.

2002 seems be when 'notable' films started coming out ("notable" just being films that were big enough to be written about) like "Rules of Attraction", "Full Frontal" and "The Ring". On a related note, Apple acquired FilmLogic in 2001 and turned that into Cinema Tools which came out in 2002. So either a significant enough demand from film-centric productions already existed just two years after FCP's release or Apple was looking to help stoke those fires (probably a bit of both) because Cinema Tools was certainly an 'up market' product that initially cost as much as FCP did.

2003 and 2004 saw more FCP movies (ex. "Ladykillers", "Supersize Me", "Cold Mountain", "Sky Captain and the World of Tomorrow") and, IIRC, the first primetime scripted series ("Scrubs") as well as big facilities such as the previously mentioned Bunim/Murray and Pie Town. To be honest, I'm not exactly sure when Pie Town started with FCP but in my mind they have always been one of the beacons in the FCP community (even expressing optimism about FCP X though they ultimately transitioned to Avid with Resolve for finishing). I think around 2004 is when I noticed trailers houses in LA also ditching Avid for FCP.


[Scott Witthaus] "But if 'different' makes one faster and more efficient, then there is a premium."

Splitting hairs, but I think the premium is still because it's faster and more efficient, not because it's just different.


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