Final Cut X vs. Media Composer 6 Podcast

If you’re looking for a sane and reasoned comparison of Media Composer 6 and Final Cut X — from the real world of the editing room trenches — look no further than the latest edition of Kanen Flowers’ “That Post Show” podcast. I was a participant, along with Scott Simmons, Paul del Vecchio and Kanen. The show is available from the  iTunes store, or you can download it on the show notes page. This episode is facetiously titled “Edit Pro Supergood.” Fair warning: it’s long, and Skype failed us a few times, but it’s consistently substantive and, from my biased perspective, makes for interesting listening.

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7 Comments on “Final Cut X vs. Media Composer 6 Podcast”

  1. ed Says:

    I’ve just listened to this podcast and I have an answer to the question of where the copies of FCP were. I can tell you that in the northern part of the country I live in, there are maybe only 3 or 4 seats of MC over here (not counting the broadcasters). Everywhere I go is all FCP, all the production companies, all the ad agencies etc. I don’t know anyone apart from me that works on Avid. I live in Brazil, one of the BRIC countries. We have a population of 190 million people, our GDP has out grown Britain, to the 6th biggest economy in the world. So there you go, a whole bunch of copies of FCPs around here. The point is, are we going to change to Avid when we develop our market a bit more… I don’t know.

  2. Steve Says:

    Interesting. Of all those FCP seats you mention, what’s the proportion that are paid for vs pirated? Are people paying for it? And what’s impeding MC in Brazil? What’s missing?

    Steve

  3. ed Says:

    There are of corse a lot of piracy on, say…freelance editors, directors. But the companies, they hold real legal licenses. The interesting thing is that there was a point when we had only analog u-matic editing machines and then, media 100 and FCP. So, there was a leapfrog jump. I guess the point is that there is a range of price that gets feasible for a company to become legal. The best production houses here have matrox, or blackmagic equipment, so that you get an idea. The other really interesting bit is that there’s a lot of funding from the government (tax breaks etc), around 100 million dollars last year alone, so there is a market and people are willing to make films. it’s not like students or hobbyists, there just isn’t enough money to access a full fledge avid station. And since import taxes are really high, going for an open system is the way to go for Avid. Much easier to penetrate in this market. I think they should do like Microsoft/pharmaceutical companies and have diferentiated prices for developing countries until they reach a critical mass. The goal is the market share. (Be aware that the south of Brazil is really well developed and it’s much easier to see avid MC’s floating around.)


    • I’m from northern Brazil (Belém) for several years and did consulting for various post-production houses, and I even use FCP (7) in my job, not X. Very soon I’ll be moving to Avid, for while still evaluating the trial version. But one of my clients with 05 MacPro Octa will all be migrated to Avid MC 6.

      • ed Says:

        The podcast was about FCP in general. It’s really what people use here in Recife apart from TV Globo. I hope that changes. I need an assistant and it’s pretty hard to find one that knows any avid. I think Avid’s new position and the demise of FCP through FCPX will help a lot.


      • Your group in Facebook Avid Brasil is an good place.

  4. ed Says:

    And yeah… adopting portuguese as one of the phrase find languages would help as well ;-).


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