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The first FCP Tour takes place in Madrid 6th May 2016

01 FCPXTOUR banner

On the eve of the first FCP Tour in Madrid (6th May 2016) Jesús Pérez-Miranda takes us on his journey from Avid, through FCP 6&7 and on to Final Cut Pro X. 

As the FCPX user base keeps expanding, it is good to see new events being held to bring more information and demonstrations to interested editors.

Outside of the US, we have had the FCP Exchange event at IBC 2015 in Amsterdam. Now on the eve of the first presentation,  Jesús Pérez-Miranda tells FCP.co a bit more about how and why he has organised the first FCP Tour. 

And of course if you happen to be in Madrid, make sure you go along!

 

 

I’ve been editing more than a decade, mainly broadcast TV shows but also on air promos, documentaries, corporate videos, short films, all kind of projects. I started in Avid, which is what I learnt in my Film School years along with flatbeds and linear tape-to-tape systems… Like most Avid editors, I was reticent to give Final Cut Pro classic a try, a software I really didn’t know much about until I actually started using it.

I joined the party in 2008 with Final Cut Pro 6, and soon I realized how many great things I was missing for no good reason. Besides being an eye-opening experience for me in terms of workflow and editing, it also opened new doors and opportunities in the industry that I couldn’t have accessed otherwise.

A bit later, FCPX came out, and like most professional editors, I didn’t think it was ready for prime time… But the more fuzz there was online about it, the more curious I became. On the other hand, I didn’t want to make the same mistake twice and dismiss a tool without actually learning about it first.

So I kept reading about it online, here on FCP.co and other sites, and the more I learnt about FCPX the more fascinated I became with its new paradigm and powerful capabilities. Then Apple released version 10.1 with the new Library structure, along with the new MacPro. For me, that was a real proof that Apple was focused on making its software and hardware a killer combination for the pro community. So I jumped in with both feet.

Of course, most editors and companies didn’t use FCPX, so except for the projects I cut at home, I kept editing on Avid and FCP7 in most paid jobs… After switching to FCPX metadata driven workflows and magnetic timeline, I found going back to the old track-based paradigm kind of painful.

So I tried to tell my colleagues about FCPX, but they didn’t want to listen. On one hand, there was the stigma that Apple didn’t care about professionals any more. On the other hand, the fact that most professional editors are reticent to learn a new tool, specially if it requires you to start from the beginning all over again. I guess it’s better the devil you know than the devil you don’t.

That was a bit discouraging at first. But instead of feeling pessimistic about it, I gradually started to see it as a great opportunity. If Apple didn’t want to serve directly the pro market, then someone else would have to do it. And if people didn’t feel like learning this revolutionary software on their own, then they would have to learn it from someone sooner or later.

02 Cut People info

 

Following the lead of FCPWORKS in LA, I decided to create my own company in Madrid to serve those needs: Cut People. I already had several years of experience teaching editing courses (mainly with Avid or FCP7). And for quite some time I was expanding my editorial skillset with post-production consulting and coordination gigs as well.

So I guess transitioning into the workflow and integration business was a natural step for me. That’s how I ended up reaching out to Sam Mestman (LumaForge) and asked him if they were considering on expanding their operation into European territory. Lucky for me they were actually looking for resellers in Europe and they didn’t have one yet in Spain. Then, Sam put me in touch with Ronny Courtens (whom I already knew from the FCP.co forums) and that’s how all this started to become a reality. To this day, both of them have been extremely supportive and helpful in guiding me throughout this challenging transition.

03 FCPXTOUR invitation

 

Now it’s time to get the word out and do something that helps people put you on the map. Like an event, or better than that, a series of events! I’ve always been jealous of all these Pro User Group meetings and workshops that always take place abroad. If I was lucky I could watch some of the presentations online, but I was never able to take part on any of them because of the distance. So the idea of putting together something like this in Spain has always been on the back of my mind.

And at this point, it made more sense than ever. I contacted the people at ECAM (the school where I graduated in Film Editing) and proposed them to co-organize a free workshop to showcase FCPX workflows for film, advertising and broadcast TV. They liked the idea so I finally had a great venue to host the First Session of the Final Cut Pro Tour: a film school auditorium with capacity for 160 people, and a great digital cinema projector. It’s funny how only 11 years after graduating in Film Editing there, I’ve evolved from using Avid and flatbeds to preaching FCPX to the choir inside those very same walls.  Time really flies!

04 ECAM collage 

 

For this first session, that will take place in Madrid on May 6, we have scheduled the following presentations:

• Introduction to the Final Cut Pro X ecosystem, a presentation that I will be doing myself.

• Editing High-End commercials with FCPX, by editor Perig Guinamant.

• Feature Film Workflows with FCP X, where I will be showing the Shot Notes X and Sync-N-Link X workflow that I designed for an upcoming Mexican-Spanish feature film.

• FCPX Broadcast & Collaborative workflows, where the great Ronny Courtens will make a case about the adoption of FCPX in the European broadcast sector and its revolutionary collaborative workflows.

• ShareStation JellyFish 4K Demo: four machines running several 4K streams live!

I’m still amazed that Ronny Courtens is willing to travel to Spain to help me put all these together. We actually met in the FCP.co forum, an invaluable resource that not only allows you to learn from others, but also to connect with colleagues you share interests with, no matter which part of the world they are from. It’s kind of crazy that we are actually doing a presentation together in a few days in Madrid.

Also, I am very grateful to Sam Mestman and all the LumaForge team for sending me a JellyFish 4K unit for the demo (all the way from LA to Spain!), especially after the incredibly busy NAB they just had.

 

 


Written by
Top Blogger Thought Leader

I am the Editor-in-Chief of FCP.co and have run the website since its inception ten years ago.

I have also worked as a broadcast and corporate editor for over 30 years, starting on one inch tape, working through many formats, right up to today's NLEs.

Under the name Idustrial Revolution, I have written and sold plugins for Final Cut Pro for 13 years.

I was made a Freeman of Lichfield through The Worshipful Company of Smiths (established 1601). Though I haven't yet tried to herd a flock of sheep through the city centre!

Current Editing

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2020 has been busy, the beginning of the year was finishing off a new property series (cut on FCP) for Channel 4 called The Great House Giveaway. I also designed and built the majority of the graphics as Motion templates. It has been a great success and the shows grabbed more viewers in the 4pm weekday slot than any previous strand. It has been recommissioned by C4 for 60 episodes, including prime-time versions and five themed programmes. 

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Although both were postponed to later in the year, I worked again on ITV's coverage of the Tour de France and La Vuelta. 2020 was my 25th year of editing the TdF and my 20th year as lead editor. The Tour was the first broadcast show to adopt FCPX working for multiple editors on shared storage.

 

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Covid cancelled some of the regular corporate events that I edit such as trade shows & events. I was lucky however to edit, from home, on projects for Amazon Kindle, Amazon Black Friday, Mastercard and very proud to have helped local charitable trust Kendall & Wall secure lottery funding.

As for software, my weapon of choice is Final Cut Pro and Motion, but I also have a good knowledge and broadcast credits with Adobe Premiere Pro, MOGRT design and Photoshop.

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I'm the creative force behind Idustrial Revolution, one of the oldest Final Cut Pro plugin developers. It hosts a range of commercial and free plugins on the site. One free plugin was downloaded over a thousand times within 24 hours of release.

I also take on custom work, whether it is adapting an existing plugin for a special use or designing new plugins for clients from scratch. Having a good knowledge of editing allows me to build-in flexibility and more importantly, usability.

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Now in its 10th year and 4th redesign, running FCP.co has given me knowledge on how to run a large CMS- you are currently reading my bio from the database! Although it sounds corny, I am pretty well up on social media trends & techniques, especially in the video sector. The recent Covid restrictions has enabled live FCP.co shows online. This involves managing a Zoom Webinar through Restream.io to YouTube and Facebook. 

The Future

I'm always open to new ideas and opportunities, so please get in touch at editor (at) fcp.co. I've judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs!

 

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