![]() Digitize your footage at DV resolution and compress it onto that drive, and it’s an excellent first-class system that can handle long-form and output broadcast-quality material. I’m fully convinced that someone can do an entire long form project on an i-Mac. The entry level on Final Cut Pro really can be an i-Mac. ![]() The fact that you can input it and output it back to your DV camera without losing any quality is a major plus.įort: It’s amazing how little you really need to get the system up and running. The number two reason is if you’re shooting in mini-DV and you don’t have hours of dailies. What’s the best reason to use Final Cut Pro? But if you’re editing right now and don’t feel like learning how FCP manages media and stuff like that, then you may not want to commit yourself to the program. What I find is that the people who like FCP are people who like computer technology and love figuring ways to work around issues when they don’t perform exactly the way you were led to believe. The version I had (Version 1.2.5) was a little buggy. Mark: We had a slightly different experience. We shot on DV-cam, and it worked like magic. But on Fascinating Collections, we did an hour-long documentary, editing in pieces of 15 minutes. Potter: I think a misconception about Final Cut was that people didn’t think it was going to be able to do serious projects. The transition from Avid to FCP is pretty painless. And on my first day, I was able to cut scenes. Do you have a book?’ I got the program and put it on my laptop and came home and played with it for a week before the show started. Sears: When I interviewed with Showtime, they said, ‘We’ll be doing this in Final Cut Pro,’ and I went, ‘Fine. Was it difficult switching to FCP from Avid? Stephen Mark (Editor of episodes of The X-Files and Dark Angel edited the Oscar®- nominated documentary The Man On Lincoln’s Nose using FCP). Sears (Editor of The Unbearable Lightness of Being, Virtuosity and several documentaries also edited the upcoming Showtime film Bojangles using FCP).ĭaniel Fort (Assistant editor on El Mariachi and Stuart Little recently assistant-edited the Showtime film Bojangles using FCP). The participants included:ĭavid Potter (Editor of numerous documentaries, educational videos, and shorts recently edited the feature documentary Fantastic Collections using FCP).ī. So, is Final Cut Pro really up to par with the almighty Avid? International Documentary recently sat down with some top editors who have worked extensively on both systems to hear their thoughts. The premise was simple: come up with a non-linear based editing system that allows users to edit with the same speed and efficiency as the Avid, but at a fraction of the cost and in ways that cater to the digital world of filmmaking. Now, in the new millennium and the current digital frontier, there’s a new kid on the block-Final Cut Pro-and documentary filmmakers are taking notice.įinal Cut Pro was developed by Apple. But it was the arrival of the user-friendly Avid that captured the imagination of editors everywhere, allowing them to digitize their footage onto a computer hard drive and manipulate the material faster and with infinite possibilities. In the early ’90s, several non-linear editing systems appeared, such as the Media 100 and Lightworks. Back in the 20th century, filmmakers had to cut on film by hand or the equally arduous off-line tape method.
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