re all, FYI here below an interesting analysis of what Apple is doing with the new version of Final Cut Pro now rebranded Final Cut X and substantially changed to be an application for web publication.
Many of those "video professionals" enthusiastically using Apple in the last 10 and more years, along with studios, are enraged by the fact Apple is leaving their priorities asides, abandoning the FC-Pro codebase which was mostly geared for high-end video production. Needless to say, there has always been a group of less enthusiastic video experts warning that this was going to happen... However, if you are a Apple user now you can have a scroll through this huge thread http://ur1.ca/4mz71 - it seems there is even (yet another) petition http://www.petitiononline.com/finalcut/petition.html good luck! just consider GNU/Linux is there with alternatives that are getting better and better, while even Avid is moving towards open sourcing some components... Software of the Spectacle Final Cut Pro X means Apple has abandoned professional artists by Flick Harrison http://blog.flickharrison.com/2011/07/software-of-the-spectacle Guy Debord said that the main function of our society is now the production of spectacle. The spectacle alienates us from life and each other. Facebook, for instance, transforms our relationships into images of those relationships, mediated by Facebook’s own hidden desires. Fifteen years of engagement with the Final-Cut-Pro-using professional class is, at best, a good self-funding, street-cred foundation for the new consumer version of FCP, called FCP-X. It could be compared to the free itunes app of yesteryear which slowly led us to the Itunes Store and thence to the app store, iphone and ipad. Since Photoshop or thereabouts, the line between artist / consumer / producer has blurred for many reasons. Web 2.0 was a major result / acceleration of that, when the content between ads suddenly became user-generated instead of professionally-produced. Popping out a lower-cost, easier-to-use version of FCP should goose the whole production stream in that direction, not only helping fill the million-channel universe with consumer-produced stuff but driving the wages of pros down. Final Cut X fits perfectly into this paradigm – it’s part of Apple’s mission to stop selling software / hardware and start selling experiences. You produce video with Final Cut X / Imovie / whatever because it’s a way to keep you on the mac, where you’ll get app-store suggestions etc. and listen to Itunes where you’ll buy things. Then you’ll post your movie on Youtube so that other people will spend more time on their computer watching it, where they’ll get ads pushed at them. Professional content producers are a bit of a problem in this system because they expect to get paid for producing content, and because they have a set of specific needs. Apple is smart to abandon them because the rest of the public will buy whatever software Apple puts in front of them if it is “slick” and “fun,” and they’ll learn to accept its paradigms rather than vice-versa. Senior artists in any discipline are a problem, partly because they want to get paid, but also because they are interested in ideas and formal play rather than spectacle. They try to make work that reduces their own and their audiences’ alienation rather than increasing it, even work that exposes the spectacle itself. There is anger and dismay from professional editors who now feel they need to abandon Final Cut and the whole Apple suite of pro products. The most sophisticated, team-based and integrated-workflow tools of FCP have been dropped, as if those skills and experiences are irrelevant to the art form in which they earn their crackers. What’s left is only spectacle. -- jaromil, dyne.org developer, http://jaromil.dyne.org GPG: B2D9 9376 BFB2 60B7 601F 5B62 F6D3 FBD9 C2B6 8E39 ______________________________________________ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
