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BVE: One Year On

"There were howls of derision on Mac forums the other day when it was announced that Apple would stop shipping the Mac Pro to the EU,” says Simon Hall, Senior Trainer at Soho Editors.
Comments such as “So even if there were a powerful upgrade on the horizon the UK would not get it. Thanks again Apple.” This illustrated one of the big problems with Internet forums.
First people don’t actually read what’s being reported and secondly people always like to point the finger without getting the facts first. Firstly it’s a rumour.
Secondly it’s an EU legislation which the Mac Pro falls foul of, so not Apple’s fault if the grey men in Brussels shift the goal posts. And thirdly no one has said anything about a new Mac Pro. So the problem, to quote In Bruges, "it’s in Belgium".
Which brings me on to BVE and Final Cut Pro X. Amazingly it’s been a year since we demoed Final Cut Pro X in a professional workflow and here we are one year on, seven updates later, and the forums are still full or criticism.
It’s annoying because the people I meet who criticize it have either never opened it or been told by someone not to bother. The myths are still out there and many originate from forum boards, which is why at BVE I’m looking forward to showing FCP X in a professional workflow for 2013.
For some Final Cut Pro X still doesn’t fit the bill, which is fair enough. No one said it was going to suit everyone overnight, and lets face it, is still a first generation piece of software. I remember editing on Final Cut Pro 3 with derisory snorts coming from the Quantel editors in the suite next door. Two generations of the software later and I was training those guys how to do my job (a strange quirk of the work I do now, I teach myself out of a job). Final Cut Pro X should have the same approach that is why at BVE we are keen to show how far it’s come, and that’s not all.
So at BVE we’ll be showing all sorts of things, from working with Redcode R3D files natively in Final Cut Pro, through the quite brilliant multicam function, and along the way bust some myths that are still hanging around. That’s only the tip of the iceberg though.
We’ll be showing colour grading with DaVinci Resolve 9 and some of the finer tools in Smoke 2013 all incorporated into a Final Cut Pro X workflow.
Then there’s a little but very important bit on delivery. With the help of the Digital Production Partnership and the guys from Hamburg Pro Media we’ll be showing how to deliver your files to the new AS-11 broadcast standard format, the new format that all broadcast files will have to be delivered in.
So come 2014 broadcasters will be waving goodbye to tape altogether. The surprising thing about this is that as of going to print Final Cut Pro X is the only NLE that is capable of doing this.
So we hope you’ll be able to join us, because what we’ve got to show is quite interesting and in our opinion quite cool, and we’ll be around as well to answer your questions and queries too and maybe correct some things you’ve heard on forums.
Such as the one I read the other day. "Final Cut Pro X proves Apple are no longer interested in the professional editor or anything professional in general."
All I can say is working with Red, Resolve, Smoke and the ability to deliver a new broadcast format. Maybe I’ve answer that query already.
Simon Hall
Senior trainer at Soho Editors
020 7734 1286
Visit us at BVE stand O20
Solidmate Ltd Memory Card Hire London

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