Quote:
Originally Posted by
Ted Todorov 
If editors aren't worried about their job security, they should be. I stand by my original assertion that part of the anger stems from FCP X lowering the entry barrier into Pro editing.
I guarantee you it has nothing to do with this. Many people out there in Post Production are not really at the "Pro" level in the true sense of the word. They may very well want to be there and are working to be there. And in the next many years a handful will join the ranks. But the true Pros use features and have requirements that are there for a reason. EDLs are antiquated yes. But that is how departments share edit changes with one another. It works. Everyone knows how to do it. And no studio is going to risk some unproven, untested new fangled way of doing things on their multi-million dollar movie or TV show just because Apple says it should be done differently from now on.
I read on one forum where some Apple fan guy was saying that using Tape was "so 1990's and that 'real editors' should get current and stop using it." Well...know why it is used? Because someone high up at the company insuring the film or TV show using it has determined that TAPE is the best format for archiving, transferring data, reliability over time, etc...If they want to insure their multi-million dollar project (which they have to do)...they will use these proven formats. They will use tape in these cases. Sure everything is on hard drives and edited for the ease of use...but it has to back up to tape...or archive to tape. I still get contracts for my film scores which want me to deliver the music stems on digital DAT tapes or DA-88 tapes believe it or not. Even though it is all done digitally on an HD...they still want some form of tape in the end.
So...FCP X can't interface with these systems. Combined with the fact that FCP7 is end of life'd and no additional support or seats can be purchased on it.
Result: FCP X won't be used by the Pro's on their projects. At least not until it can do those things.
It has nothing to do with Apple declaring there is a better way. The facilities who invested hundreds of thousands (if not millions)...in facilities built around FCP...well...they see an uncertain future. They can't do business like that. They will not get the work contract if a studio gets nervous because they want to use their new FCP X program that will not interface with other programs and other facilities used day in and day out in Post-Production...like Telecine, Thomson Spirit, DaVinci...Pro Tools, etc...etc...
So they will all probably just go to the industry proven editing standard Avid Media Composer at $2500+ a license because in the long run... knowing it will work and be supported in the industry, it will save them money over time. Avid is much better at handling tens of thousands of objects anyway. Which many HUGE productions have.
This uncertainty is why they are mad. Has nothing to do with worrying about lowering any entry barrier. Editor is a union job. Do you know how hard it is to break into it at that truly "Pro" level? Pretty much you have to apprentice to a big name editor and when he dies...you may get his previous clients. It takes a lifetime of known credits to get on the "studio approved list." And studios do not invest in unproven entities...not software and certainly not people. Too much money is on the line. No one is worried that some kid on FCP X will take their job. That thought is laughable.
