The backlash against the newly introduced Final Cut Pro X rages on, but Apple is at least trying to quell the fears of angry users with the help of a FAQ page about what will and won't work as users transition from Final Cut Pro 7 to FCP X. Some of the answers will calm users who were unhappy with FCPX's initial showing, but other professionals will remain unhappy with Apple's decision to seemingly alienate those whose livelihoods depended on previous versions of the software.
Apple only introduced FCPX a week ago, and the reaction was mixed right from the beginning. There were significant changes in the user interface, not to mention a plethora of missing or hobbled features compared to FCP7. The biggest cause of the outcry seems to be the fact that FCPX cannot import projects from previous versions of Final Cut Pro—no, not even the most recent one—making it laughably difficult for any professional who depends on the software to make a seamless transition to the new software. Additionally, users have complained that there's no support for output to tape (while input is limited) or EDL or XML export, and no OMF output for mixing audio in Pro Tools, among other things.
Apple has already communicated to some video editors that this is not the 'final state of FCPX,' as noted by Gary Adcock, with some features apparently coming as part of the release of Mac OS X Lion. Still, as evidenced by Apple's new FAQ page, there are some things that just plain won't change.
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For example, the company is quite blunt when answering a question about ever being able to import FCP7 projects again: because the software includes an 'all-new project architecture' and 'new and redesigned audio effects, video effects, and color grading tools,' there's no way to bring in old projects without losing data, Apple says. When it comes to editing a tape-based workflow, Apple reminds users that FCPX 'is designed for modern file-based workflows' (ouch) and doesn't support all the same tape capture features as FCP7, though it does support FireWire import for DV, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV.
AdvertisementAs for the good answers, Apple says that it plans to release a set of APIs 'in the next few weeks' so that third-party developers can create tools to support OMF, AAF, EDL, 'and other exchange formats.' In an answer to another question, Apple indicates that it's aware of users' need for XML exporting features, saying 'we expect to add this functionality to Final Cut Pro X,' but with no specific timeline. And in an answer to a question about assigning audio tracks for export, Apple says an update coming this summer will let editors use metadata tags to categorize audio clips and export them from FCPX. Volume licenses are coming too, 'soon.'
Apple's posting of the FAQ page comes just a day after news began to spread that the company had begun giving refunds to some dissatisfied FCPX buyers, despite it being against the Mac App Store's terms of service. But other users remain upset and confused by the re-architected software and have gone so far as to demand that Apple restore FCP7 under a new name or auction the source code to a third party by January 1, 2012. A petition has been posted online with (as of this writing) more than 5,200 signatures, chastising Apple for making such significant changes to industry-standard software:
Many have invested hundreds of thousands (some even millions) of dollars in creating Final Cut Pro based companies. These are now threatened by a 'prosumer-grade' product upgrade of Final Cut Pro 7 titled 'Final Cut Pro X,' and will likely put several of these companies out of business. The costly process of migrating studio hardware and software is a major burden, especially on studios that have made recent upgrades to support Final Cut Pro. If many had known of the Final Cut Pro X release prior to investing in expensive hardware and software licenses, most, if not all, would have sought alternative solutions.
A few of those users may want to rescind their signatures after reading Apple's FAQ, but we get the feeling that most plan to stick to their guns—especially after reading Apple's confirmation that the ability to import previous FCP projects will never come.
DiLL: The Digital Language Learning Lab
In 2006, the MMLC launched DiLL, a new audio network technology created by Zachary Schneirov and Matthew Taylor. This all-digital system represented an extensible, flexible, and non-proprietary computer-based answer to the traditional language lab. It is still the only software of its kind for the Macintosh platform.
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DiLL represents, in a virtual space, a traditional language lab. Because of its digital nature, DiLL also removes the constraints of the traditional lab, introduces new pedagogical features, and allows for easier communication between members of a class. DiLL allows real-time high-quality audio communication between students and teachers while simultaneously serving audio language lessons and recording student work. It runs on Mac OS X and uses its open-source Bonjour networking technology to locate students automatically.
DiLL provides a centralized control panel from which an instructor can listen to and correct students as they speak. From one screen, an instructor using DiLL can see and/or hear what each student is working on, communicate either with the entire class or selectively with individual students, can reassign lessons, and pair or group students in conversation. Meanwhile, each recording that a student makes while working or testing is saved to a server automatically. The instructor can access these saved lessons at any time to review and grade work.
DiLL introduces several innovations to the language lab environment. It gives students the option to slow down audio while maintaining the original pitch. This allows for a better understanding of unfamiliar sounds. DiLL also incorporates a silence recognition feature, permitting a more logical replay and review of audio material. And, like any digital resource, once a catalog of audio material is established inside DiLL, it is available everywhere on its host network and is accessible by any number of students.
DiLL transforms the model of the language lab into a modern, pedagogically sound, and financially viable solution.
Former MMLC Director Janine Spencer originally headed the project with consultation provided by Professor Li-Cheng Gu of the Chinese Language Program.
In 2012, DiLL “graduated” from a departmental project into the premier product of a new start-up company, Swift Education Systems. All future development of DiLL will take place in this exciting new environment. For information about licensing DiLL, please contact Swift.
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Northwestern Users:
Enter the DiLL system (password required).
Download the DiLL Teacher’s Guide.
Download a working draft of the user manual.
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For more information about licensing DiLL, contact Swift Education Systems at info@swifteducation.com