» Posts Tagged ‘finalcut’
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.
This isn’t for anyone who works at a huge corporation or has a lot of money, but for the rest of us, I think the best guerilla solution for filmmaking in 2010 will be a PC. I’ve been a Mac guy for the past four years but I suspect things are about to change; here’s why. More »
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