» Posts Tagged ‘finalcut’
Reports are surfacing that Apple’s much-ballyhooed 64-bit editing application Final Cut Pro X will be released in the Mac App Store next week. AppleInsider has further confirmed the application will be released “in the next 10 days.” No word on whether this release also includes Motion, Color, Soundtrack Pro, or any other applications that may make up a professional content-creation suite, but the reports also mention that we should expect additional releases alongside the software: More »
More screenshots of Final Cut Pro X (set to be released this month) have been discovered via twitter, this time by @MortGoldman2. Apparently taken from FCP X training videos that the user claims are “publicly available” (though not found easily or released legally), the new screenshots demonstrate the color correction interface of FCP X, which looks a lot like the Motion screenshots we saw last week. The screens show off a new primary and secondary color correction interface, as well as a full suite of video scopes. From these screens, it would appear that Color (but not Motion) has been folded right into FCP X: More »
There were no Final Cut Pro X-related announcements among the recent iOS and iCloud-focused Apple updates from WWDC, which was not unexpected (WWDC is not traditionally a film or video event). Except it was originally announced Final Cut Pro X will ship in June, which would mean the much-debanticipated (yes, FCP X hype deserves its own word, a combination of “debated” and “anticipated”) software has a scant three weeks to appear in the App Store. Since the original demonstration, videos, and screenshots, we’ve heard nothing. Then Twitter use BWilks2001 dropped these screenshots, which are reportedly of the new Apple Motion application: More »
I had no idea when watching David Fincher’s generation-defining (yeah, I said it) The Social Network that the RED-shot film would utilize a post-production process similar to what you or I could execute. It turns out that the crew on the award-winning film conformed all shots — and did some basic visual effects work — using Adobe After Effects, after utilizing Premiere Pro to get their Final Cut Pro timeline into AE. Yes, they also used higher-end tools — notably Quantel’s Pablo for the color grade — but the basic editing tools are the same as you or I might use on a no-budget project. Here’s Fincher and assistant editor Tyler Nelson on the process: More »
Some have pointed out that many of Final Cut Pro X‘s much-lauded new features are not really that “new.” This backlash seems to happen with every Apple product, perhaps out of response to the rapturous reception with which Apple fanboys greet the superlative-laced presentations. In the case of FCP X, the criticism is that FCP X‘s list of new features (seen on video) have been around for a while in other editing applications (notably Premiere and Vegas). But a list of features does not an editing program make. It’s not what features you include in a piece of software, it’s how you design them. Read on for some thoughts on intuitive design and a few full resolution screenshots of the new Final Cut Pro X. More »
Apple hasn’t posted any official acknowledgement of last night’s demonstrations of Final Cut Pro X on their website, and so everyone on the internet is speculating based on lists of features rather than seeing the presentation. Until Apple gets official with any such announcement, then, the next best thing to an official video is an unofficial (kind of shaky) video of the presentation. In my liveblog of the event I noted, “editors are crazy,” and you’ll see that to be the case based on the overenthusiastic reactions here: More »
I’m live at the sold-out FCPUG SuperMeet in Las Vegas, where the “surprise” guest has turned out to be none other than Apple (“surprise” is in quotes because everyone, this site included, expected it to be AAPL). As expected, Apple has announced the new version of Final Cut Pro, now called Final Cut Pro X, with OpenCL support, backround rendering, and a completely redesigned interface. Here are the new features: More »
Thanks to your suggestions, I just finished packing the new and diminutive Canon XA10 camcorder (on loan from B&H) to take to NAB. I don’t know how many interviews I’ll be posting from Las Vegas or how quickly I’ll get them online, but I’ll be approaching the show with a relaxed demeanor given there are plenty of other great video/DSLR sites that will be covering the show top-to-bottom and I’m perfectly happy to share their coverage. If you’re going to be at NAB, please come up and say hi — I’d love to actually meet folks face to face (I look like this). On to the real news: every year Editors Lounge holds a pre-NAB roundtable wherein post-production pros discuss the latest trends in hardware and software. Here’s the very informative session in full: More »
Every year at NAB the FCPUG (Final Cut Pro User Group) puts on their own event dubbed the “SuperMeet.” Since Apple pulled out of NAB two years ago, no one knew how the expected announcement of a new Final Cut Pro at this year’s NAB would take place. With all other scheduled events at this year’s SuperMeet suddenly being cancelled at the request of Apple, who apparently wants exclusive stage time, it looks like the new FCP will be unveiled publicly on April 12 at Bally’s Event Center. The event opens at 4:30pm with presentations beginning at 7. Tickets are currently sold out; guess I should’ve bought a ticket when I had a chance. More details: More »
Since Apple showed a new version of Final Cut Pro behind closed doors, the internets have been flooded with all manner of speculation as to what is so groundbreaking about the latest update to FCP. Idle speculation alert — if you’re not a Final Cut-based editor or you simply don’t care about what could be, feel free to skip this post — we’ll get proper news soon enough. But because there are a lot of FCP editors out there — and because so many folks are throwing ideas at the wall — I thought I’d share a few of the ideas floating about. More »
CoreMelt makes post-production plugins for Final Cut Pro, Final Cut Express, After Effects and Motion. V2 of their extensive plugin bundle ships with 219 GPU-accelerated plugins and costs $399, but they’ve also made 33 of them absolutely free. Here’s a look at the complete V2 product range, from which the 33 free ones are taken: More »
Apple (finally) demonstrated the new version of Final Cut Pro to industry insiders this week, and because everyone who saw it is under a Non Disclosure Agreement, we won’t be hearing any details about it soon (until sometime around NAB, I’m guessing — though Apple is not listed as an exhibitor, they will likely stage their own event). Without going into specifics, however, the new FCP is being called “the biggest overhaul to Final Cut Pro since the original version was created over 10 years ago,” and more simply, “jaw-dropping.” More on the new FCP in a second. Apple also released new MacBook Pros this week, which, along with the usual slew of processor and graphics updates, debuted a brand new 10Gbps (read: ridiculously fast) interface — Thunderbolt. Apple Pro is back. More »
Aliasing and Moiré. The bane of many HDSLR shooters’ existence. Many have tried and failed to defeat the jaggies and discoloration that reveal the ugly, line-skipping truth about our DSLRs. But now Jorgen Escher has released a Final Cut Pro plugin that can defeat some of these problems. While you shouldn’t expect Jorgen’s plugin to cure the most serious of aliasing issues, he’s come up with a post-production method that works by defining the problem areas and applying chroma blur. Here’s the before/after video: More »
Thanks to Adobe Premiere Pro CS5′s ability to edit DSLR and other h.264 footage without the need to transcode, editors have been switching in droves away from Final Cut Pro. In my How to Build a Hackintosh article, I include a section specifically for video editors switching from FCP to Premiere, including how to do so without having to learn any new keystrokes. But for anyone with lingering questions as to why an enterprising editor might switch, Adobe is presenting four free online workshops: More »
We all know one of the chief drawbacks to shooting with (current generation) DSLRs are the rolling shutter artifacts that show up on shaky or fast-panning shots. It turns out that iMovie ’11, in addition to interesting movie trailer templates, includes a filter that can decrease or eliminate these annoying artifacts. Here’s a comparison from Nino Leitner of some Canon T2i footage, before and after using the iMovie ’11 filter: More »
Caleb Pike has posted a video at DSLR Video Shooter for removing horizontal banding artifacts from DSLR footage using Final Cut Pro’s “Limit Effect” tool. This technique should only come as a last resort, however, as the best offense is a good defense: shoot at 1/50 shutter speed in most European countries (or anywhere 50Hz electricity and/or PAL video is standard), and 1/60 in the US and other NTSC locales, and you should be fine. More »
Apple today announced new Mac Pros, marking the first updates to the fruit company’s pro line since March of 2009. Pricing starts at $2,500 for the base 4-core model, $3,500 for the 8-core model, and a wallet-annihilating $5,000 for the 12-core model. The new machines use the latest Intel Xeon processors, there are new SSD options for storage, and higher-powered ATI graphics cards are now standard. No USB 3.0 or Lightpeak as rumored, and still no Blu-ray option. None of this is particularly surprising, but there’s an interesting angle to this announcement concerning the ongoing feud between Apple and Adobe. More »
Rolling shutter, aka “jellocam,” is one of the chief drawbacks to shooting with large CMOS sensors. Other than to avoid whip-pans or shaky camerawork, however, there’s not much shooters can do about it in the acquisition stage; is there a good solution in post? CoreMelt is a software company that’s just released a Final Cut plugin designed expressly to reduce rolling shutter artifacts. More »
According to AppleInsider, Apple is giving Final Cut Studio a “significant makeover” to target the suite at prosumers rather than the current “high-end creative niche.” Combined with recent reports that Apple laid off 40 Final Cut employees, this news is potentially disturbing for anyone interested in the “Pro” part of “Final Cut Pro.” So: unsubstantiated rumor or legitimate source of worry? More »
If you meet the criteria (Canon DSLR user, Mac user, Final cut user), the newly released EOS Movie Plugin-E1 for Final Cut Pro from Canon will change your workflow for the better. The free plugin offers the following highly beneficial features:
- Automatic transcoding of clips from H.264 to various Apple codecs
- Transcoding time may be up to 3x faster than previously possible with EOS movie files using Compressor, or similar
- Time Code is added to each clip (based on the camera’s date/time stamp), as well as user-given reel names embedded in the ProRes files, which can then be viewed from FCP throughout the editing process
- With the Log and Transfer function, users can set in and out points to transcode and import only the portion of the clip needed for the project, greatly improving speed and productivity
Once you click through to the download link, be sure to select Mac OS X in order for the plugin to show up. First 24p for the 5d Mark II, now this; Canon is really owning the HDSLR revolution.
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