Description image

LumaForge Introduces 4kFLOW, an Affordable 'End-to-End' 4k Platform Based Around FCPX

04.7.13 @ 4:00PM Tags : , , , , , , , ,

It looks like Apple’s campaign for winning back professional editors is attempting to gain more traction, as today LumaForge announced a system that promises to bring an affordable workflow for capturing, processing, and delivering 4k footage. While the platform is cooperating with several companies including Adobe, Blackmagic Design, Autodesk, and RED — their workflow for editing and finishing looks like it’s based on Final Cut Pro X. Read on for more details.

LumaForge is a ‘value added reseller and systems integrator’ based in California, and they will install and maintain the 4KFLOW (Flexible, Lean and Open 4k workflow) platform for film and television productions. 4KFLOW handles real-time playback up to 5k and was created with easy delivery to any resolution in mind. The system is comprised of a “display from Eizo, storage from ExaSAN, technology from Apple, expansion from Magma and iPad dailies from COPRA.” From LumaForge:

Everyone is looking for workflow solutions that address the challenge of saving time and money as well as increasing quality – we all know that waiting hinders creativity but getting the right files to the right people at the right time is not always simple or cheap. The 4kFLOW end-to-end solution from LumaForge addresses the growing need for fast and efficient 4K shared data storage with secure high-speed networking at a cost-effective price.

Main features of 4kFLOW end-to-end solution:

  • Extensive range of Macs for ease of integration
  • Final Cut Pro X, Motion 5 and Compressor 4 for 4K, 2K and 1080 editing and finishing
  • XSAN software for sharing data between workgroups
  • The ExaSAN range of storage RAIDs and switches for storing and moving vast quantities of data quickly and securely around the network
  • Blackmagic Design’s DaVinci Resolve software for color correction and digital dailies
  • Integrated VFX workflows with Autodesk SMOKE
  • On set media management with ShotPut Pro
  • RAW processing with REDcine-X
  • Dailies creation and expedited syncing using Sync n Link, Dropbox and Vimeo
  • Dailies review with COPRA 4 iPad system
  • 4K monitoring from Eizo and NVIDIA

Neil Smith, CEO of LumaForge, adds:

It was imperative that we find the most robust and cost-effective 4K platform possible, 4K digital acquisition and file-based workflows demand a ton of horsepower and resilience. Traditionally this has been supplied by expensive proprietary systems. However, by combining the power of the Mac and Final Cut Pro X with our other hardware and software, we are able to create a system that accomplishes the best result at a fraction of the price of our competitors.

It’s an interesting approach — putting together some of the most powerful hardware and software tools into one manageable package — and I think we’ll start seeing more solutions like this become available. For productions who just want 4k to be a no-brainer, it might be a good choice. No word on price for the system yet, and even though one of their major selling points claims ‘affordability,’ since most of us aren’t shooting in 4k (yet) it might be a bit pricey for the indie-minded. Also considering the constant battle for NLE superiority, the fact that this platform is based around FCPX could be a make-or-break factor. If you haven’t seen Adobe’s recent jab at Apple via their NAB customer video, check it out:

For all you NAB-ites, LumaForge will be showing off their platform at Booth #SL15113.


[via Pro Video Coalition]


We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 41 COMMENTS

  • At first I was like, “Neat!” Then I was like, “For FCPX? …just no.”

  • I’m not getting how that video was a jab at Apple.

  • Can’t wait for the obligatory so-called “professionals” who enjoying telling everyone that FCP X is not a professional tool…despite the many users out there demonstrating otherwise.

    Interestingly, it usually comes from people who haven’t spent more than 20 minutes using the actual software and prefer to regurgitate their opinions from others.

    • Come to LA then, Hummer—no one uses Final Cut X and you’ll get laughed at if it’s your primary platform. The software is a joke

      • Lance Bachelder on 04.8.13 @ 12:11AM

        This cracks me up – it’s like all of LA watched the Conan parody 2 years ago and never even took another look at FCPX. I know so many Editors who think it sucks but have never even opened i!. Those who truly give it a real chance end up loving it – it’s far deeper and more “pro” the CS6 which is freeware in my opinion – of course this could change with new PPro showing at NAB.

    • Especially not iMovie Pro, which is all FCPX equates to being. And this comes from a hardcore user of FCP7 who HAD to switch to premiere when Apple screwed up their NLE.

    • john jeffreys on 04.7.13 @ 7:37PM

      I remember when everybody hated the iPod when it first came out. And the same amount of iPhone skepticism in 2007.

      Apple is miles ahead of your puny conservative dinosaur “professional” brains. They design and operate on frequencies you can’t conceive- they know what will be the new standard before it becomes the new standard.

      FCP X is the future of editing, so either support it or get out of the way

  • Wow: interesting ! Oh. Wait. It’s based on Apple computers ? Then no.

  • I agree with Michael and Isaac. FCPX is a joke. I’m forced to use it everyday at my job and it is a disaster. I also own my own company and we use Adobe and Smoke. There is no way that I am choosing to use FCPX. And Hummer I use FCPX everyday for 8 hours strait and it doesn’t get any better.

    • if you’re doing something (ANYTHING) for 8 hours a day everyday and it doesn’t get any better surely the problem must be you…

    • what specific issues are you having? I use it at my job and really can’t complain, apart from some speed issues when working with a lot of fonts.

  • FCPX is the NLE of the future. And this is one of many forthcoming ‘nods’ to Apple that others will follow. Like it or not, just because something (FCPX) is easy and fun to use doesn’t make it inferior.

    • NLE of the future? From a company that has all but squandered it’s professional market share but failing to update the PAINFULLY long in the tooth Mac Pros? Please. Quit trolling. FCPX was a still born product in line with other abortions such as Aperture. And I say this as a huge Apple Fanboy. The last few updates to FCPX have been marketed improvements, but everyone else either stayed on FCP7 or just migrated to Premiere, which frankly made up ALL the ground while apple was fumbling.

      • I’m sorry you’re so intensely upset about X. You need some help. Maybe a few tutorials to show you how to actually operate the software? Pro tip: if you had spent half the time you’ve spent writing these silly, childish rants actually learning the software – you might actually understand just how powerful X is. While we’re throwing around anecdotes, I can tell you that everyone I know who has spent significant time with it (i.e. didn’t just regurgitate what they’ve read from other blogs) is very satisfied with it.

        Does that mean it is perfect? Of course not. Neither is Premiere, or AVID. These NLE’s are just tools. If you can’t them work for you, then you’re in the wrong profession.

        • Been there. Done that. I can drive through that app just fine. I learned it and made a decision based on workflow that integrated other departments, and the results were clumsy. No thanks.

          • How did that workflow look? I roundtrip roundtrip to DaVinci Resolve easily since it accepts the new XML. Cheap app X2pro sends to Pro Tools and does amazing work organizing roles to layers. With AE I use free app ClipExporter, can send individual clips or a group of them by activating specific “roles” or the entire timeline. Much easier than i.e Avid + Automatic Duck.

          • i’ve been editing commercials on it and so far I love it (and so do my clients). i’m not talking about cheap infomercial stuff either… I mean proper tv commercials (mostly shot on Alexa) for the likes of citroen, reanult, canal sat, garnier, etc…

            I use it mainly to edit offlines on set. my workflow includes offloading cards from the Alexa onto a G-Tech drive and then make proxies from the footage using prores. It’s so fast… the quality is amazing and the color correction is very good, it allows us to try different looks and send it directly to vimeo so that the guys doing post can have an idea of what the director is looking for.

            as a tool is as perfect as it can be… it’s simple, fast and produces very good results. In my last shoot the director was so happy with the result of the offline that he didn’t even bothered with the online: I exported the timeline to prores422 and it went straight to the TV for broadcast.

            I forgot to mention that I do all of this on a macbook pro i5 2,4ghz from 2010…

    • pacifcbeachca on 04.8.13 @ 5:53PM

      The reason many of us adbandoned FCP is that when it was first released, there were glaring holes in the app. No XML, external monitoring, etc. It was a half baked bullshit release that pissed off people wha have been loyal to Apple and depend on it for their living. I switched to Premiere because I was using several tapeless formats that did not play well with FCP7 or FCPX. To say Premiere Pro CS6 is “freeware” is just stupid. I use After Effects a lot and love the integration. Use whatever you want, but for a working productio nguy with deadlines and bills to pay, Premiere serves my needs perfectly.

  • I really want the 4K move to sloooow down. I’m excited it’s coming, but if I had my way, we would be with 1080 for several years more…. simply just because of storage cost, machine cost, etc. that I’m just not looking forward to paying for. As I’ve been scouting out other exhibitor booths at NAB, I’ve been happy to see that “4K” isn’t necessarily everywhere, but it certainly is a push. Can’t wait to really get things going tomorrow and see what’s up!

    • I honestly don’t see how it is even possible that 4K is going to take hold anytime soon, at least from a consumer standpoint. To me it reeks more of the whole 3D push than the SD > HD transition.

      So, so much content – from features to TV shows to shorts – has been produced in 1080 and 2.5K, making it highly unlikely that viewing platforms are ever going to be 4K-only. Plus, with so much viewing time taking place on mobile devices/laptops and smallish screens (less than 40″), who is going to even be able to distinguish the difference?

  • I know that it’s very interesting (and important) that this was built around FCP X, but part of me wishes that was left out of the article so the discussion could be a little more productive than every other ridiculous FCP X fight on the internet. “It’s the future!” “It’s terrible!” “You’re a dinosaur!” and all the other “arguments” have been made. No one’s mind is being changed.

    • Good point. I’ll get my coat. My April’s resolution is avoiding the comments. I Herp Derped YouTube earlier as well. Get in – get out. (I did like your comment though. It showed me the way. Thanks.)

  • FCPX might not be THE future of editing, but it’s def a part of it and a pretty big one I think. It growing and it’s growing fast, just like the original FCP which pro’s looked down on. It took 4 years before a big studio movie from Hollywood used FCP, then a few more years before it was pretty much a standard in film and televison.

    • I don’t think you understand, FCP was a huge sea change in the industry, starting with movies like Zodiak, then Apple absolutely dropped the ball and kept dropping it. More users have flocked AWAY from FCP after X, it’s not the future. Apple may surprise us at NAB, but I doubt it. Anyone remember FCP Server? I do, we never got it either.

      • I do understand, I remember it very well. FCP was basically a copy of how Avid and Media 100 worked, but pro’s looked down on it anyway, partly because of the price and that it supported DV via firewire (which had not yet “exploded” at that time). If FCPX didn’t borrow UI design and some features of iMovie, then people wouldn’t have had complained so much. This is one of the directions we are moving to, just like analog and digital, desktop and mobile.

        Sure, FCPX was weird at the beginning and I just hated how backwards everything felt. But when I figured out how it works and got a workflow down, then it was great. I still use Avid and sometimes Premiere Pro, but FCPX fast became my preferred tool of choice. And I am certainly a profesional.

      • I don’t buy into this whole “Apple has abandoned professionals and forever alienated them!” argument.

        This huge entity known as “professionals” isn’t some static group that Apple has irrevocably lost because of a poorly executed launch. New, younger editors who don’t come with all the emotional baggage or muscle memory of the older, existing platforms will probably pick up X and be thrilled with it. It runs well on most Macs without hassle, has a smart and straightforward U/X, and is affordable. Since 10.0.6, the software has basically every feature I need as a professional and I’m sure there are many more interesting developments to come.

  • THE FUTURE of editing is just… EDITORS!
    and for 4k, 8k, 12k… there will be machines that would carry the job, you EDITORS, take care of telling a good story, for conforming there are already good machines and softwares like nucoda. and if you are shooting for the internet, 4k is far from being a standard.
    I mean, who really needs it?
    final cunt, premiere, avid, lightworks.. all you need to perform is just trim and cut, with the application you feel comfortable with…

  • pacifcbeachca on 04.8.13 @ 5:54PM

    And Motion, really?

  • Interesting how FCPX cannot seem to show up in any conversation without some people simply dismissing it as useless!

    It doesn’t matter which tool, as long as the editor is okay with it. I’m prepping for two features in India right now, and in both cases, the editors chose their tool – FCPX! It went into the budget (since the production is buying some tools) and the producers signed off. End of story. Both of the editors independently and dispassionately said they have had to learn a few new ways to work, but were quite full of appreciation for the direction they were going in with FCPX. Both have used both Avid and FCP earlier.

    The real topic here is the 4k workflow, and I wonder how much of an attraction a customized workflow full of “third party” suppliers is for those who want to invest in it. Won’t they figure out the customization themselves? Is it really so hard?

  • Fcpx is the future. You go Apple.