Media 100 Vs Final Cut Pro

I’ve used Media 100 since variation one (early 1990s) and though it was very shaky in those beginning days I’ve enjoyed its own clear and easy work flow – and its graphic quality. Although it was cheaper than standard in those ancient days its picture quality was true “on line’ quality. Since that time I have upgraded every few years and seen the equilibrium upgrade and extra features included.
However most video editors seem to utilize Final Cut Pro and I have come under increasing pressure from coworkers to proceed around to it. Since it happened I already had it on the shelf just as many years ago Apple stopped selling DVD Studio Pro as a stand alone program. I needed DVD Studio Pro so that I had to buy the package that happened to include FCP.
I managed to withstand making the leap until recently, once I started FCPX effects using the brand new breed of tape-less cameras. My very first adventure was that the much acclaimed Sony EX3, that has been used for a video for the charity ARCOS. The only real way I could get its files right into M 100 was updating to the newest version of FCP and then using Sony’s Clip Browser and then Clip Transfer computer software. That worked fine but for a new documentary production, I’d footage from the Canon XF103, still another highly common camera. This time the only way I could get the material into M 100 was to import it all in to FCP first and export it out again – a complete waste of time. I contacted M-100 support and they indicated several third party applications that was not only quite expensive but additionally required a couple of navigation to find each shot within a multitude of folders. By this time I was completely cheesed off with Media 100 and decided to provide FCP a try.
It was demonstrably a steep learning curve but with the help files I was able to get the hang of it quite quickly. Several of the qualities of FCP are far better compared to M-100, its color scoring for example, but I soon found I’d shuddered to a stop and also the help files had been no help. Adding files in the flashcard is fast and straightforward – all your shots exist ready to edit. However, all of them have 2 sound tracks, even the mute shots. Okay, not a problem, in M100 you merely choose the clip and switch off the monitors you really don’t desire before dragging it to the timeline. Simple! But in FCP (I detected by Googling the problem) you have to generate a replica of a clip until you can remove its sound tracks and then only by putting it in an “sequence” or deadline and then dragging it back into the bin. It works but it’s fiddly.
Sound mixing is somewhat awkward too. Authentic, FCP gives you finer control however you must click on the clip then correct the levels in the picture editor. Media 100 handles all of it in the deadline and is totally instinctive – and quick! Together with Media 100 I generally edit in the deadline and that I find it quite surefooted and quick. You’ve got a very clear picture of things you have done with most of the paths at a glance – maybe not so with FCP.
However, the most frustrating aspect of working with FCP for me after I put all my sequences together in one master program. Clips that had played perfectly in the brief sequence now announced they “NEED RENDERING”. Fair enough I click Render All. Nothing. I finally make them render by trial and error. But why? Just like well the client was not sitting tapping his hands awaiting see the first clip. I’m sure many of the issues that I had were because I’m a novice with FCP but returning to Media 100 afterwards was pure happiness!
About Company:
Established in 2006, Aliso Viejo, California-based Pixel Film Studios is an innovative developer of visual effects tools for the post-production and broadcast community. Their products are integrated with popular non-linear editing and compositing products from Apple FCPX.
Company Address:
120 Vantis Dr. Suite 300 , Aliso Viejo , California

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