a massive re-invention of Final Cut Pro and I assume the 'Express' version. This new version sounds so radical that we will probably all have to re-learn the program.
Apple lives in their own world and not knowing anything about the new FCP, everything we talk about is just a guess.
I know I'd be tickled pink if they'd just leave the current version alone (so there is no new added learning curve) and just offer or partner with third party companies to lay of the rendering and effects to either PCI cards or stand along devices.
I know they did this with Matrox for about an hour once, but apple ended the deal as fast as they made it and went back to where the processor's do all the heavy lifting. The problem is with FCP we all just wait and render, wait and render.
Video/motion whatever you want to call it is a time suck, the black hole of post production. You walk into a room to cut a simple piece, blink twice and two weeks have gone by.
We also desperately need standards. If I kept up on every new motion capable camera, every new codec, every editorial system that required a native codec file I'd never get any work done, I'd just spend all of my time reading.
Call 10 editorial houses and ask them how they handle footage, or what footage format they'd like delivered and you will get 10 very different answers. Most of them just say they make it up as they go along.
The only standards, (past film) are if you are working a long project with a closed loop system. One where photography, techs, editorial, effects and final conforming functions are all on the same page.
Imagine in the still world if your client asked you to deliver a file that worked only in a Sony computer, but maybe convert it to an Apple computer (intel only) but the retoucher worked in a file format that would only work with a Non Intel mac.
That's just a very small example of what motion/video faces today.
Anyway, I'm getting off of subject, but today, if you were going to buy a simple plug in package or two just to modify color and ran FCP studio, would you do it? Will it work with the next FCP? Would you just throw up your hands and go to AVID or Premier?
Will those two systems be affected by a new FCP or if Apple drops quicktime?
As far as cameras, there is also no standard. You see episodic TV shoot with a RED as primary camera, A,B and C cameras 5d, 7d's a little film footage thrown it and for slowmo a Phantom.
That's a post production nightmare and for still photographers moving to motion, the only real answer is find a camera that fits your workflow and style and stick with it, worrying about the post production later, because as we know post production is going to change by the month.
I can see the advantages of the new Panasonic because there is less moire than the Canon/Nikon Dslrs. I can't understand why Sony has al almost there system raning in price from $3,000 to $100,000 but I can't blame any camera maker because there is no single official standards body that says hold it, these are the standards so stick with them.
There is a reason that large budget cinema is being pulled into the digital camera world kicking and screaming.
IMO
BC
