Axel

I think not. AAE is an ancient software that could be rewritten from scratch, because there are more elegant ways of representing layers on a timeline. But few complain, because they know the program, and it works just fine as it is, it's reliable. Merging PP and AAE (and make the jackalope an expensive Hitfilm) would scare off the faithful clients. Don't you think?
The problem is that PP has too many old and redundant features and over the decades became bloatware. 
But PP imo should be rewritten to seamlessly include the functionality of Prelude. Organizing media within PP is so marginal. Wiki:
As I see it, these are all core tasks of an NLE. None of them should be awkward clunky processes.

At film school, your professors are usually not actively working in the field.  
So this WanderingDP - interview young up and coming DPs who share unique perspectives and ideas is incredibly valuable.  I learned a ton from the interview with Chayse Irvin, super talented young dp who shot the Lemonade Beyonce film.
 
http://wanderingdp.com/

The filmic look comes from dynamic range, but unfortunately not all cameras have enough to have that filmic look, therefore we raise the black levels to mimic that style. Its a stylistic choice, I dont like vibrant looks, to me, thats as vibrant as I would go. But I dont think its the cameras fault, its as versatile as any other camera.
This is a friends work, also with NX1 :
I think the NX1 has a much more pleasing look than any of the sonys for example, specially after trying my new a7sII, its very easy to have terrible skin tones.

This was a specific clip to go for a moddy style, but you can go for a more vibrant style very easily and it still looks great.
 
Most people who did get the NX1 arent good, they were consumers who wanted a camera, very few prosumers/professionals actually got the NX1, so i'd pick carefully what you're watching online, because most of it is going to look terrible.

@ricardo_sousa11
Beautiful clip, exquisite style. But imo too flat, dark and desaturated to judge the camera's DR and colors. As I see it, you successfully managed to work around the NX1's prominent feature, overly sharp outlines in every detail, mistaken for superior resolution and not looking natural. Search on Youtube Samsung NX1 wedding, and you see what I mean in many instances. You tamed the beast, but your approach is not that of a normal highkey wedding with vivid colors. I even found the fir needles @1'30" a little too much.

I havent read all the comments, so what im gonna say might have been said already.
I own an NX1 and a7sII right now, although I barely used the a7sII, because im waiting for some lenses to arrive, from what I've tested, I dont think ill like it as much as the NX1. I have seen people using and creating beautifull things with the Sony, so im sure you can eventually make stunning stuff, but off the bat, the footage isnt as impressive as the NX1. Also, after getting the 16-50s, I dont feel like I need anyother lenses at all, it hasnt left my camera in quite a while (I had Sigma art 35,50mm, sigma 18-35mm, samyangs, tamrons etc), so you kinda have a full package with around 2k€, which is stunning. With the a7sII, you will need a combination of cameras, and some time to learn how to grade (if you dont know already) and treat your image, but its still an amazing camera.
NX1 footage :
 

I've seen this effect, but off the cuff I'm not sure how it helps to correct skin tones. Please explain.
I made a Motion template to make Sony skin tones match Canon skin tones, here. Unzip the file and move the "AXS" folder to >user > movies > Motion templates >effects. No risk, if you don't like it, you can simply move it to the trash. In FCP X, you find it in the effects tab under "AXS". It's called Hautfarben (german for skin tones). You'll see a preview of it if you select a timeline clip and skim over the effect's icon. The preview is set to 50% mix, but you have an amount-slider rigged to go from 0-100%. 
Base is keying the typically lifeless skin of correctly white balanced Sony clips. Applied to Canon clips, the skin will have an unnatural orange cast. You can easily change the color itself within the filter. But if you happen to use a camera with a different color science than Sony, you'd have to open the filter in Motion (right click) and reset the keyer.

I am sorry I am not really good with this stuff and I am still not understanding.
My proxies do match my original files just with smaller resolution.
Original file = 1920x1080 120p (H.265) -> Proxy = 960x540 120p (H.265)
Original file = 3840x2160 30p (H.265) -> proxy = 960x540 30p (H.265)
Both these files were ingested with the same ingest setting without doing anything to them in AME.
I think I am getting confused with this interpretation thing. If i put both the above videos on the same timeline they will both play in real time. Then I change the video speed of the 120p video to 25% for slow motion. Is this not what you mean by "footage interpreting"? Taking a high frame rate video and playing back at at a lower frame rate so its slow motion. In that case Adobe does not need to fix anything you just need to create a custom ingest setting.

Nobody except Peter Jackson liked The Hobbit in 48p, and 3D is about to die - again. As you said, don't declare the end of something. 3D is like Dracula. Often impaled and turned to dust. When the world just had forgotten his existence he came back. Stereoscopic images are first reported from the very early 17th century:

At school I had a girlfriend from Romania. She spoke 10 languages fluently and got the international baccalaureat. Studied in Belgium and became a dermatologist. Her parents had been very poor. And no intellectuals ...

My style is different. I talk to everybody, make compliments and jokes, smile. By this I indirectly ask everybody to look at me because my job is to portrait them in the best light. I casually reassure them, make them feel comfortable. They don't awkwardly avoid me (but forget my presence when it's appropriate), they smile directly into my lens. In other words: I direct them. 
I had this in me before, but I really improved this as a technique since I began my new job five years ago, nursing people with dementia. It's called validation. You approach the human being in question with the conviction that she is the most valuable person in the world, that he makes you radiantly smile, you let them mirror their best experiences. To achieve this, you first have to sense what makes them wary, shy or even hostile. There are quite reliable signals of body language. You charm away their unease just by your own positive reaction to that, by subconscious changes in your own eyes, posture and voice too subtle to feign. What I learned from this: you can manipulate others in a good sense and in a bad sense. People, no matter how blatantly they contradict the current concept of ideal beauty, like themselves on photos/videos when they are happy.
 

I don't want to sound like a wisenheimer, but I predicted the success of an easy proxy workflow in Premiere since the first rumors of it's implementation. Good for all Premiere users. Allow me to remind you of the days when Premiere supported the proprietary Nvidia Mercury Engine. I could (but I won't) dig out some lengthy threads in which proud Premiere owners (you used to buy it) poured scorn on us FCP people. The mark of a professional NLE, they said, is the ability to edit the native codec. Now it's the other way around. "X" lets you skip intermediates because it's so streamlined, you use proxies mainly for multicam. The mark of a smart editor is that he uses everything that let's him work with less problems.
Grandma Adobe abandons one of her last fortresses. What's next? Tracks?

My style is different. I talk to everybody, make compliments and jokes, smile. By this I indirectly ask everybody to look at me because my job is to portrait them in the best light. I casually reassure them, make them feel comfortable. They don't awkwardly avoid me (but forget my presence when it's appropriate), they smile directly into my lens. In other words: I direct them. 
I had this in me before, but I really improved this as a technique since I began my new job five years ago, nursing people with dementia. It's called validation. You approach the human being in question with the conviction that she is the most valuable person in the world, that he makes you radiantly smile, you let them mirror their best experiences. To achieve this, you first have to sense what makes them wary, shy or even hostile. There are quite reliable signals of body language. You charm away their unease just by your own positive reaction to that, by subconscious changes in your own eyes, posture and voice too subtle to feign. What I learned from this: you can manipulate others in a good sense and in a bad sense. People, no matter how blatantly they contradict the current concept of ideal beauty, like themselves on photos/videos when they are happy.
 

Why not just *key* the skin and color correct it? I made this an effect. With mix-slider, everything in one small window. 

Sounds like you could've been Parker Walbeck. Devin Graham's trusty shooter.
 
Man, I'm waiting on the Instamics to ship out! https://www.indiegogo.com/projects/instamic-the-smartest-microphone-ready-to-record-video-music#/

Valuable information above. I am no professional wedding videographer, did 12 weddings over the past 9 years and always demanded a new piece of equipment as compensation. For me, shooting weddings is big fun, a bunch of challenges and a thousand times as rewarding as shooting corporate videos (I know a few people in that business).
I did that two times, no problem. As I said, I'm not a pro, but I went to film school, and I know how to present my point of view. What I wouldn't touch is if either the groom or the bright is an abominable wedding videographer, the most begrudging species in the world. They always hate their rivals and despise their work, if they admit it or not. The work of others is either cheesy, poorly photographed, has no story, too long, boring, the music makes my toenails curl in horror (and/or is stolen, would like to report you) or it's completely professional, an exchangeable template, lifeless, loveless, everybody can see how much you disliked the bride by the amount of diffusion you applied, are you so dull to miss that? And so forth. How I know? I once had been reading guest of a wedding videographer forum to perhaps steal some tricks. Make no mistake: hell didn't exist before, it was invented for this vermin. 
Good distinction: special angles (beautiful photography) and special moments (emotional mise-en-scène). A successful wedding video always has both. When in doubt, go for the emotion. A sequence of perfect beauty shots that looks like a lavish commercial: unendurable. Grandma fighting her tears, whispering God bless you: YES!

Why not just *key* the skin and color correct it? I made this an effect. With mix-slider, everything in one small window. 

Valuable information above. I am no professional wedding videographer, did 12 weddings over the past 9 years and always demanded a new piece of equipment as compensation. For me, shooting weddings is big fun, a bunch of challenges and a thousand times as rewarding as shooting corporate videos (I know a few people in that business).
I did that two times, no problem. As I said, I'm not a pro, but I went to film school, and I know how to present my point of view. What I wouldn't touch is if either the groom or the bright is an abominable wedding videographer, the most begrudging species in the world. They always hate their rivals and despise their work, if they admit it or not. The work of others is either cheesy, poorly photographed, has no story, too long, boring, the music makes my toenails curl in horror (and/or is stolen, would like to report you) or it's completely professional, an exchangeable template, lifeless, loveless, everybody can see how much you disliked the bride by the amount of diffusion you applied, are you so dull to miss that? And so forth. How I know? I once had been reading guest of a wedding videographer forum to perhaps steal some tricks. Make no mistake: hell didn't exist before, it was invented for this vermin. 
Good distinction: special angles (beautiful photography) and special moments (emotional mise-en-scène). A successful wedding video always has both. When in doubt, go for the emotion. A sequence of perfect beauty shots that looks like a lavish commercial: unendurable. Grandma fighting her tears, whispering God bless you: YES!

You already have three really really great cameras, don't waste money and mental energy on bothering with anything else for low budget wedding shoots. 
Just use it!
 

Process? You seem to have found the expert mode. I used to calibrate my old display that way. Looked good then, looks terrible now. Perhaps because our own expectations are higher after a few years. The whole grading hype educates us to be unhappy with what we've got. I think the built-in monitor calibration never was exactly brilliant.

I had a Spyder Pro, now a X-rite i1Display Pro, used with the free software DisplayCAL. Takes a long time, but is very precise.
Why is Yosemite's calibration process a "total mess"? Missed the old "expert mode"? It appears only if you hold "alt" while clicking in >system preferences >monitors >colors  and there >calibrate.

I had a Spyder Pro, now a X-rite i1Display Pro, used with the free software DisplayCAL. Takes a long time, but is very precise.
Why is Yosemite's calibration process a "total mess"? Missed the old "expert mode"? It appears only if you hold "alt" while clicking in >system preferences >monitors >colors  and there >calibrate.

A good free LUT loader plugin for FCPX : https://www.motionvfx.com/mplugs-107.html

I've had problems with pixel films Lut loader as well. Even with the older fcpx it was a bit finicky however now with 10.3 I had to uninstall and reinstall the Lut loader before it began to work. Even now when I select a Lut from a folder on my desktop, no changes appear to the footage. I have to select the lut a second time, and sometimes even adjust the "amount" slider until I see the Lut applied.
 
When the thing does end up working the way I usually grade over multiple clips is by using a title (with no text) over all the footage I want a Lut applied to. The title acts as an adjustment layer. So you drag the Lut loader onto the title instead of the clip, then everything under that title gets the Lut applied.

We have these tendencies in Europe as well. The prospects for the future darken for many. And the established political parties don't address this. Even the socialists keep repeating empty clichés. Their whole language and way of thinking had been invented by Marx during the industrial revolution, when the factories were crammed with workers, no global outsourcing, computer-assisted automatization asf.
People don't want ideologies, they want practical solutions. Like a program. We do this or that, and you'll get a decent job. That's what Trump did, he made false promises. The right-wing parties in my country do the same.
And if he fails to deliver, he may very well be shot. Though this was perfect poetic and ironic justice, it would mean more barbarism.
I hope Trump resigns early on. Or he does something so dangerous or inappropriate that he is impeached. If not, many countries will follow this example, and WW3 is just around the corner.

Everybody who states he could bring back an industry that keeps everybody employed for the payment they were used to is a liar. Like Trump i.e. - and everybody else, to be fair. There need to be major changes, new infrastructures, new industries aiming for the future, subsidized by whom? People need to be qualified, because untrained workers will be needed even less in the future, and they will be paid less. 
These changes, if s.o. had any idea, any concept in the first place, would take time. One lost generation. You can't let people starve. There has to be a minimum income for everybody. Enough to make you feel part of the civilization. 
Everything else leads to disaster, unavoidable. These conditions can't be tolerated in one of the richest countries of the world. One day you would see people hanging from the trees. Probably not bankers or politicians.
I sometimes think it's time to wake up from the American Dream. Trump is the ugly truth. Grotesque wealth is for very few. It tends to drive you mad.