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Re: Prem vs FCPX - Panels

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Simon Ubsdell
Re: Prem vs FCPX - Panels
on Mar 9, 2017 at 11:43:07 am
Last Edited By Simon Ubsdell on Mar 9, 2017 at 1:08:09 pm

[Walter Soyka] "Where, roughly, do you draw the lines for the other apps?"

With the proviso that this is my opinion based on my editing and business needs, which are not necessarily going to be the same as anyone else's, and only celebrating the positives and ignoring the negatives ...

Media Composer: for collaboration.

There is still no better solution for a team of editors working on the same project at the same time.

FCP X: for the fun.

For the sheer, freeform, creative exuberance of it, there is nothing like working in the magnetic timeline.

Premiere: for the Swiss Army Knife factor.

Premiere takes up where FCP 7 left off in offering the most adaptable set of workflow options. No one thing stands out but I would list: flexible and powerful relinking, comprehensive interchange options that work right out of the box, workspace customisation, advanced audio mixing capabilities, and of course the seamless interaction with Ps, Ai and Ae.

Resolve: for the finished look

For some projects, the cutting needs to go hand in hand with the final look and for this nothing comes close to Resolve, as I have discussed before. A capable NLE that is also the world's leading grading solution is quite an act to beat, but when you factor in Fusion Connect, it's in a class of its own.

Steenbeck: for the magic

OK, so this doesn't belong here, but I mention it to make a more general point. To anyone who can still remember those days, there was unquestionably something indefinably special about the process of cutting on a flatbed (or a Moviola). Was it the tactile pleasure of the physical interaction with the medium? The intrinsic slowness of the process that made you think harder about what you were doing? The magic of looking at a beautiful projected image rather than just a bunch of dead pixels? The performative aspect of every cut? The sheer physical labour of it that made you feel more like an honest artisan than a pretentious "artist"? The satisfaction of working with a magnificent piece of mechanical engineering costing more than a luxury car? I think ultimately the appeal was that it was a holistic experience, more than the sum of its parts, a holistic experience that made you feel connected, even if only by a slender thread, to a tradition of film-making stretching back to Griffith and Eisenstein.

By which I mean that speed and efficiency and modernity are not necessarily the only values it pays to think about.

Simon Ubsdell
tokyo productions

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