I wrote a recent review that was a pretty harsh critique of Final Cut Pro X and I do have to say that Apple took care of a lot of issues with its recent Final Cut Pro 10.0.1 software update. FCP version 10.0.1 (some people think it is FCP 10.1 but it’s not … not quite yet) is a nice revision of FCP X, which smooths a few of the rough edges of the first release of FCP X.
What we get with Final Cut Pro 10.0.1 is XML capability finally, as well as improved cross dissolve (and other) transitions without having to create a second storyline. This was an overlook in the first version and seemed weird, so I’m glad they fixed that. We also get solutions to other annoying bugs like the lower thirds malfunction that I described in an earlier post. It also feels a bit quicker. I do have to say that I upgraded to a new iMac this week, and FCP X really works slick and quick on this new machine. That hardware upgrade made me a lot happier with FCP X, but I do think that in general Apple is going in the right direction with the software and we’ll see more professionals using it soon.
I’m still on the fence as to whether or not it is the best tool out there, but I am continuing to use it more and more because I don’t have to transcode my Canon 5D mark II footage and I don’t have to wait for Final Cut Pro to render all the time, as I did with FCP 7. It is also a dream to be able to sync my separate audio and video files with one click (without buying an expensive plugin). And all of this costs $300. As the software updates from Apple continue to come, I am going to use FCP X more and more as my primary editing package.
The Lomokino camera will be a pretty cool addition to my Christmas list this year …
I’m very excited about making some short films lo-fi style, with good old fashioned real film. It’s funny because so many HDSLR filmmakers using cameras like the Canon 5D mark II, they will say “shoot in 24p because it is so film-like.” But really no one is ever going to shoot with film, unlike with still photography where so many people do still shoot film. Well, I can really sense that a camera like the Lomokino might actually catch on. And even though using actual film to make moving pictures is time-intensive (and $$-intensive), it really does look rewarding and I am going to give it a go. Stay tuned for the results.
The Lomokino uses any kind of 35mm film that you select, and works by the use of a hand crank that you crank to move the film through the open shutter. Pretty awesome, huh? Does anybody remember the opening credits to The Wonder Years? With the Beatles song. That was the Beatles right? A Beatles cover, anyway.
Here are some short videos from the Lomokino site:
After using the software for a few months now, I finally feel that I can write a well-informed Final Cut Pro X review. Let’s get right to it: don’t buy Final Cut Pro X. Not just yet.
This was a massive overhaul of the software and anyone should know that it’s risky to jump on the bandwagon with a 1.0 release. Don’t get me wrong – I like Final Cut Pro X and I think it has a lot of potential, but there are too many bugs right now. Extremely frustrating bugs. Bugs that make this software a huge waste of time and inappropriate for professional use.
The trailer you see below is one I made for With Nature in Mind using Final Cut Pro X, along with a full 7-minute video that is almost finished. It was fun to learn the new software while creating these videos, and there are a lot of great features in the software, but this is an honest Final Cut Pro X review so I have to tell both sides of the story.
The bugs are frustrating. The worst one happens when using the lower third templates (the little name and title animations for interviews). What happens is that I insert a lower third over someone talking, type in their name and information, and then move along with my editing. But after a while, the changes to the lower third get lost over and over again at different times in the editing process. Sometimes, I’ll have the video project completely finished in Final Cut Pro X and I’ll export it. Everything looks fine. Then I go back in to change something small – and completely unrelated to the lower thirds in the project – but what will happen is the lower thirds reset themselves and just say “Name” in place of the interviewees’ actual names! This has happened too many times. Often times the formatting that I have applied to the lower third is also lost. See pics below.
Another weird bug that happens that I haven’t read in other Final Cut Pro X reviews is that the audio becomes distorted upon export and upload to YouTube. When I export a video and watch it on my computer, it sounds fine, but when I upload to YouTube, often the audio gets very scratchy. I know this is a transcoding problem because I found a way to work around it. The problem disappears if, after export from Final Cut Pro X, I open the video in Quicktime and use that program’s “Save As” function and select “1080p.” This essentially re-transcodes the video file and somehow fixes whatever Final Cut Pro X is doing wrong. Very weird. And another time waster.
The funny thing is, I started using the software in order to save time, but this Final Cut Pro X review is sadly going to tell you that Final Cut Pro X wastes more of your time than it saves. Yes, it’s true that you can sync an audio track with a video track in one click (something huge for DSLR interview shooters like myself). Yes, you can edit h.264 footage without having to first transcode to something like Prores 422 via MPEG Streamclip. And yes, it’s true that you don’t have to wait for Final Cut Pro X to render (at all). But what they don’t tell you is that the program becomes quite slow during the “background rendering” that Final Cut Pro X uses, but this is probably not a big deal on newer machines. My Macbook Pro is from mid-2008, but still is generally quite fast and does great with the previous versions of Final Cut Pro. Also, in general, Final Cut Pro X is just slow overall compared to previous versions. Again, yes, my machine is older, but comparing Final Cut Pro 7 to Final Cut Pro X head to head … the older version is way faster.
So here is my advice – since you have invested your time in reading this Final Cut Pro X review, do you yourself another favor and save your time by avoiding Final Cut Pro X until 10.1 comes out. If you don’t like that, then switch to Adobe Premiere. Call me too patient, but I’ll wait to see if 10.1 works or not before I switch. Unlike many, many other photographers and video producers out there.
Exciting news – I just saw the announcement of the upcoming release of the Canon 1D X, which combines the 1Ds line of camera bodies and the 1D line. You can see the official press release here.
Before I can actually get my hands on it (can I borrow $6,800?) I’ll have to say that the Canon 1D X will be a useful update for photojournalists and filmmakers/videographers because of a few new things – first, it is now a full frame camera body, unlike the 1D series, which had a 1.3x crop factor. That meant that you didn’t see everything the lens gave the camera; everything was cropped/zoomed in by a factor of 1.3. Now, the 1D X matches the 5D mark II in full frame capability, so the image will be much nicer. Additionally, you can adjust the audio levels on the 1D X while recording video. Before – and with the Canon 5D mark II – you had to pick an audio level setting and leave it. On-the-go adjustments are crucial for filmmakers, especially when it comes to audio.
Another great thing is that the 1D X shoots 60p video, which means you get 60 frames per second so that you can get more out of your slow-mo shots, especially with the help of Final Cut Pro plugins like Twixtor. Again, the 5D mark II lags behind – with a max of 30p (though the 7D shoots 60p as does the 1D mark IV).
There is a whole host of other new features and crazy upgrades (14 frames per second for sports … or LOTS of pictures of your cat), but I just wanted to highlight a couple of my favorite things. We’ll see how the thing functions when it actually comes out and if there are any issues like with the last time Canon released such a heavily redesigned product. 1D mark III auto focus defection nightmares anyone?
This is just a short time lapse I made for fun while having dinner with a view of the street and our bikes in the International District in Seattle recently. I can’t say enough good things about the iPhone’s Timelapse app. If you’re searching for it on the App Store, it’s the only one with the simple title “Timelapse.” Just that word, nothing else.
It’s super easy to use and allows you to create time lapse videos wherever you go. To create an instant video from the pictures it takes, choose “encode video.” For higher quality videos, don’t choose “encode video,” as this will allow you to simply have a large amount of images that you will use to create a video on your computer using Final Cut Pro or other editing software. You can set the app to take pictures for a set amount of time or to end at a certain time, and it can take pictures every second, every few seconds, every minute, etc. I like every two seconds for longer time lapses, which span over several hours.
Apple just announced Final Cut Pro X will be available in June. It comes with a new look and features that will make editing a lot faster. I personally will upgrade because of two things: It will be able to render in the background while I edit and it supports native editing. What does that mean? Lots of time saved.
Rendering can take forever because you have to wait for Final Cut to process the changes that you have made to a video project. To preview the changes you have made, you have to render, but with the new version of Final Cut the you will be able to see your changes instantaneously. This will make me more efficient and allow me to pass the savings on to my clients.
What is native editing? This means you don’t have to transcode (convert) video files to an editing format like Apple’s Prores 422 anymore. My workhorse camera body, the Canon 5D mark II, shoots in H.264, which takes forever to edit in Final Cut and so I edit in Prores 422. Rendering that H.264 footage is such a time waster that no one does it and Prores is a kind of an industry standard. But again, this takes time and now we won’t have to wait the sometimes hours it takes for transcoding. Adobe Premiere allowed native editing of H.264 last year, and Apple finally caught up with this new version of Final Cut Pro X. I know some people (Philip Bloom is one) who switched to Premiere solely because of the native H.264 editing option, so you can see that this is a valuable feature.
The new look of Final Cut Pro X seems a bit lame to me personally, but I don’t care what it looks like as long as it performs well. I am definitely looking forward to the new $300 price tag, which was nice to hear since Final Cut only came in the Studio package in the past, bundled with several other programs with a depressingly high price tag.
