A loaner Mac Pro arrived from Apple on Friday afternoon. It’s a 12 core, dual D700 GPUs, 512 GB Flash storage and 32 GB of RAM. Here are my initial thoughts after three days.
Author: Philip
Before running Final Cut Pro X 10.1 the first time, read this.
One of the most exciting new features of Final Cut Pro X 10.1 is the introduction of Libraries. Libraries now contain both Events and Projects in one package, very similar to classic Final Cut Pro “projectsâ€.
This is a huge improvement, but of course it leaves no role for Event Manager X with Libraries, which are well managed within Final Cut Pro X 10.1.
Except Event Manager X is the best tool to use during the migration to Final Cut Pro X Libraries, therefore from today it’s free.
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Final Cut Pro X 10.1
Apple released Final Cut Pro X 10.1 overnight. I’ve had the privilege of working with this version for a while now, and here’s what I’ve found about the new features.
The final post in my series rising out of a recent Digital Production BuZZ segment with Larry Jordan and Michael Horton. Larry asked one final, very important question.
Larry Jordan:Â Â Because we are charged with delivering our projects on time and on budget, at what point should we resist change, like not being too close to the bleeding edge, and at what point should we embrace change?
Continuing the discussion from a recent Digital Production BuZZ show. Larry asked an excellent question
Larry Jordan: I was just reflecting on the difference between improvements and changes and I realized that the tools that we use influence the stories that we tell and I was thinking back, again to when I was directing live TV, I would have the opportunity every so often to do a three videotape edit in a very expensive CMX room and the stories that I could tell with that videotape was limited by how much money I had and how much time in the CMX room. I couldn’t do graphically intensive tasks, I’d have to go off to an animation stand. Are we actually being blinded by the tools we’re using in terms of the stories that we can tell?
Terence and Philip discussion innovation, starting with a recent article questioning Avid’s continued ability to innovate. The discussion covers who might be innovating, what it innovation and a whole lot of other subjects as well.
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How to cope with technological change
Continuing the spin off from my conversation with Larry Jordan on the Digital Production BuZZ. Larry continued the conversation:
Everything is easier to learn when you’re younger, because first you’re sort of in a learning mode; and second, you have less baggage associated with whatever you’re working with. But it seems to me that there’s a bigger issue of how do we cope with the technological changes rocking our industry?
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How to manage change and relearning?
As you probably know, I’m a regular contributor to Larry Jordan’s Digital Production BuZZÂ talking about a variety of topics from technical to esoteric. Larry, Michael Horton and I recently started a discussion – yet again – on whether or not Final Cut Pro X was “for the pros” but fortunately moved the topic toward managing change. We all felt that the discussion about FCP X was over, since it is being used all across the professional production spectrum, but pondered why it still generates controversy.
The discussion was one of the best we’ve had on the BuZZ, and I felt that each of the questions deserved a little more depth than I could go into with a two minute answer.
Larry led off by asking:
You’ve been quoted as saying that people want things to improve but they don’t want things to change. How do you see the difference?
There as been some discussion – and a little panic – as the news has leaked out from developers that “QuickTime is deprecated”. What does that mean and what affect will it have on video professionals? When an OS API (Application Programming Interface) is deprecated, developers are warned to not write any new code using that API, because at some future (usually unspecified) time, the API will go away and the code won’t run.
Apple frequently talk about being at the “intersection of Technology and Liberal Arts” but we rarely experience that other than through their hardware and software. Thanks to the encouragement of our friend Cirina Catania, we (Cirina, my partner Greg and myself) experienced the Invisible Cities Opera in LA’s Union Station. That’s a really unusual place to stage an opera, and indeed this was a most unusual artistic experiment and experience, involving large amounts of production skills – staging, singing, etc – and some amazing technical chops from Sennheiser and Bexel (Burbank CA).