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12.07.2014
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I like to be involved and like most people I enjoy the plaudits of a successful project coming my way. Unfortunately I soon realized ninety percent of my classmates seemed to have the same aspirations as myself.By halfway through my foundation year of the degree I’d started to be intrigued by the editing process. It started because I hated sitting in edit not knowing how to express my thoughts for certain shots. My plan was to spend a bit of time learning about editing so I could have a better understanding of the process, but I pretty quickly fell for the alluring joy of making the edits myself.I learned on Avid Media Composer, thankfully my university was very well stocked with edit suites and to a decent standard too. Five fully-equipped Avid edit suites complete with decks, dual monitors, Adrenaline boxes, Broadcast monitors, color-coded keyboards etc.
Down the hall was two Final Cut edit suites that were reserved for the 2nd and 3rd year students. So I cracked on with learning Avid.When I look back now I realize that I thought I’d learned Avid. I didn’t make use of the trim tool properly, which in itself is a crime, as now I know it to be one of the greatest non -linear editor features of all programs. As you’d expect from having many students of varying ability using them, crashes were common.


I spent four months working for the BBC with four Avid systems, my system and one of my editors had constant problems.
The GRaid’s couldn’t be plugged into the firewire sockets on the HP Workstation, due to the Adrenaline boxes also being plugged into one. I was told by several different techies PC’s don’t cope so well with more than one firewire device. Fine, we’ll work off USB then.Throughout my time we were met with constant errors, errors that no forums could answer. However I do appreciate it’s a bit of Non-Linear Editing Software that requires the correct hardware and some TLC to work, so I would never denounce its qualities in the modern editing suite.As I progressed through university I got my chance to play on Final Cut Pro Studio 1, and it just seemed to gel for me. My thinking was much more ‘click and drag’ when I was trying to learn Avid and that kind of process just doesn’t work. Now I’ve learned to edit more efficiently when I went back to Avid at the BBC it was fine, it made more sense and I appreciated it more for my newly gained knowledge. Yet I can’t get past how error prone it can be, and as a Mac fanboy I just don’t enjoy working on PC’s given how awkward they make life.
At the time though FCP was great, it was like all those reasons why certain things didn’t respond in ways I wanted suddenly did.
Of course I wasn’t even using FCP to it’s potential but I could get where I wanted to be quicker and it felt good. So I bought my own MacBook Pro with a whopping 2gb of RAM, and spent hours scouring the Creative Cow tutorials section for tutorials. Avid had depended on hardware to get the best out of it whereas FCP was designed to be able to work at a professional level once installed.
For many consumers the choice of spending around ?1000-2000 on the hardware and ?500 on the software was a no brainer compared to Avid’s endless need of hardware that would cost closer to the tens of thousands for even a trimmed down setup. Apple had come up with a game changer, and the 3rd-party developers helped it grow even more than perhaps Apple appreciated.I was quite happy working on Final Cut Pro.
It ticked the boxes for my needs and when I left University it was easy to keep using it at a corporate level.
When I’d started editing everything was tape, I missed the film years by a few and saw no reason to use it for anything I filmed (although I would like to at some point). By the time I’d reached the latter half of the 2nd year of the degree Sony EX1’s were finding their way into the University.


Having grown used to sitting and waiting on tapes to capture in real-time the transcoding times weren’t an issue. They were around twice as fast (working on a Mac Pro) so it seemed like a great improvement. DSLR’s and the RED camera followed quickly and suddenly it was a very digital process.FCP’s need for footage to be transcoded into a format it could understand became more of a hindrance.
The other flaw with FCP seemed to be it operated on a 32-bit setup in a 64-bit operating system.
I wanted to make use of it. Apple’s much-desired update to the Final Cut franchise failed epically with FCPX. And albeit Apple’s history to take things and make them more efficient, this just wasn’t cool. A cheaper product and no transcoding= Win.But I’ve already learned the editing theory by this point.
I didn’t want to have to relearn from scratch and I didn’t have the time to either.So I soldiered on in FCP7, it was and continues to be a workhorse. The 3rd-party plugin developers picked up the slack and to this day remain one of the best features of the Final Cut franchise. Working largely with XDCam and DSLR footage, FCP increasingly felt slower but I didn’t plan to move to FCPX anytime soon.When I first met Kev I asked him what he edited on, he responded “Adobe Premiere”. Straight away it was obvious Premiere wanted to hoover-up Final Cut’s disappointed customers.
It uses all of my available RAM, it’s fast, it’s powerful and Adobe openly want to hear your feature requests. FCPX has eventually upgraded to a point where it looks like a professional editing package, but it’s too little too late for me right now. As Walter Biscardi correctly writes, “It’s amusing to see Apple touting the “new features” such as Drop Shadow and the Dual display. I do believe Apple will come good with Final Cut and when that happens I’ll be more than willing to pick it up again.
For now however, I’m going to sit out the small flaws of Premiere knowing that I work in a program where the manufacturer really does care about what I need from it.



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