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FCPX - First Cut with the new Final Cut Pro X

COW Library : Apple Final Cut Pro X Debates : David Battistella : FCPX - First Cut with the new Final Cut Pro X
CreativeCOW presents FCPX - First Cut with the new Final Cut Pro X -- Apple FCPX - Final Cut Pro X Review


director, editor, www.davidbattistella.com
Toronto Ontario Canada
CreativeCOW.net. All rights reserved.


Calcio Storico Fiorentino

Calcio Storico is a game that has been played in Firenze, Italia for centuries. Four teams; RED, WHITE, BLUE and GREEN, representing different parts of the city; punch, kick, run and scrape their way toward victory in a round robin tournament.

A mix, of rugby, soccer, american football, boxing, MMA and Greco Roman wrestling, CALCIO STORIC FIORENTINO is by for the most exciting sporting event I have ever witnessed live.



I'm no wall flower. Many of you who have read my posts here at the COW about FCP X know that I have been anticipating this software and very willing to embrace it. I've written about editing images and the software offerings out there and for a long time I have not only been longing for something new, but something that will allow us to be more creative in a very creative key position. EDITOR.

So I did it. I went ahead and did everything they told me not to. Don't install it on your main machine, back up everything, etc. I went to the App store and initiated the download. An hour later I was editing with a new piece of software.

I am a tester. With a camera, testing sometimes means shooting a chart, but we all know that the real test is when there is something on the line. With a new project on my machine this week, little time, a mix of RED, 5D footage, a began to shape a film in front of a computer, where all films come to life these days.

Normally, I use a combination of Color, FCP and Logic in my process, but I had this new tool in front of me, so the dance begins.

It's a scary proposition. If I got deep into the project there is no XML out, no EDL out, no taking the work somewhere else. Like it or not I was STUCK with the decision to edit this project in FCP TEN. Someone has to put their money where their mouth is and this was my chance.

So, off I went into unchartered territory.

I want to also state that I am a regular Apple customer. I have had no insight into the software, I have not seen it, touched it or "played" with it prior to the 1.0 download released version that the rest of you can download for 300 bucks.

I spent a morning tooling around and I liked what I found. The flow of editing images is so natural that I decided to just go for it and do the project in FCP X.

The footage is exciting. A mix of high octane action within an ancient game played over a two week tournament in the city of Florence. The game, CALCIO STORICO FIORENTINO, is a mix of soccer, rugby, football, boxing, greco-roman wrestling and MMA. There are no rules and I know few people (I've been in and around rough sports my whole life) who would walk onto this field to take part in what I describe as 50 minutes of violence and chaos.

This project has many of the same issues of other projects. Multiple cameras, different colors, shifting light, sound all over the place. Like the game itself the footage was also chaos. Three different timebases were shot, you name it. So this wasn't some, take four shots of my cat and edit them together movie.

Like always, I set out to create a film and to tell a story.

Like always, in the interest of the global good, I share it with you all openly.

I'll share my workflow.

  • Transcoded all of the RED footage to PR 4444
  • Transcoded all of the 5D footage to 4444
  • Imported all of the footage.
  • Edited the film
  • Did a color correction pass
  • Did a sound pass
  • Used the export to vimeo command to put it on the web from the timeline.

Ask anything and I will answer. I have no allegiances to anything.

Enjoy the film. I think you'll be able to see quite quickly that professional work can be accomplished in FCP-X.

Don't spend too much time here typing posts. Get out there and get your hands into a very powerful media authoring tool.

Peace.
David


Here is the link to the movie: http://www.vimeo.com/25512336

 


 

David Battistella, Creative COW Magazine David Battistella
Italy


David Battistella is a Writer and Film Maker. Visit www.davidbattistella.com to learn more.







Comments

Re: FCPX - First Cut with the new Final Cut Pro X
by Simon Hill
Unfortunately I have to agree with many posts above. Slapping some (overlong considering the soundtrack I thought) shots on some music without even any sync between the 2(?) cameras isn't a great example of 'pro' editing. If anything it looks like what we suspect FCP X is designed for ie. youtube and Vimeo.

Good to see you've jumped in and tried it - kudos for that. I will follow your example and give it a go.

Here's an issue I haven't seen discussed much - Why the hell have they changed all the keyboard shortcuts? As a FCP editor I have spent years refining my speed and learning to use the mouse as little as possible (and use a Wacom too - far superior!) only to have to relearn all the basic functions (those that still exist!)

But this is without doubt an unmitigated turd dropped on the pro FCP editing community. If Apple doesn't do something fast, FCP will rapidly be relegated to the iMovie status that it's UI so much resembles.
Re: FCPX - First Cut with the new Final Cut Pro X
by Douglas Learner
Calcio Storico? I think this is really about editors debating FCPX. ;-)

Nice work, David. I enjoyed it.

Thanks also for this explanation on getting the look:

“To get the look I balanced the luminance in Black and white and then added back color. The RED footage had a greenish tint and the Canon was a bit bit, so they had to be balanced back to a more consistent look.

“I am fond of a desaturated look these days and I made that creative choice based on the lighting and to help represent the dusty atmosphere.”

Could you have produced a more vibrant look with the source footage and FCPX if that had been your goal?

Douglas
Re: FCPX - First Cut with the new Final Cut Pro X
by randall wurster
The video looks quite nice - but admittedly, its a simple project. This does not demonstrate how FCP X can be used in a professional workflow, which is what most of us are wondering right about now...
Re: FCPX - First Cut with the new Final Cut Pro X
by Heath Comeadow
Did you write that article yourself or did Apple PR write it. "taste the dust" Come on? This is creative cow, just do a tutorial or save the hype for your press release.
Re: FCPX - First Cut with the new Final Cut Pro X
by alban egger
Hey David, I did the same test.
Downloaded, shot a hot project (XDCam HD 422) and edited in FCPX with all the risk of deadline and project-unmovability.

I needed FCP7 to transcode, but otherwise FCPX worked fine - in fact better than expected- actually this software is the best editor I used since edit*. IT ROCKS!

It misses many features still and I have a quite extensive list of demands for apple, but the editing is already there, now they need to fix the stuff around and we need 3rd party tools developed.

But I hear what you say....it can produce great results very fast.

+2
@alban egger
by Al J. Marschke
I have been spending more time with FCPX and I have to agree. It may be missing some features but as an editor you gotta love how fast things can get done. I take back all of my earlier negative comments. It does rock! I should have given it more time.
@Al J. Marschke
by David Battistella
Thanks for posting this.

I think that if you edit images for a living it is easy to see after a bit of time that the software is pretty intelligently laid out.

David

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@alban egger
by David Battistella
Cool.

A brave move but it's good to test stuff out. At worst you just jump over to the FCP 7 comfort zone.

David

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@David Battistella @Pat Harris
by zach flugum
There is a conform option in the retime drop down menu. For example I shot 60fps on a GH2 and put that footage directly into a 23.98 timeline. When I go to the Retime menu and choose "conform" it automatically slows the clip to 40%. I haven't shot anything on Red or something that gives you that 100fps or higher option so I can't say how that would work out but I am guessing it is similar. The footage also seems to be as clean and smooth as when I would conform in Cinema Tools so that is good.

- Flugo
@zach flugum
by David Battistella
This is great information to share. I think the RED footage will always show up in the timebase it was shot in.

David

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Re: FCPX - First Cut with the new Final Cut Pro X
by alban egger
Hey David,
I did the same. downloaded FCP-X on June 23rd, shot an American Football Game (the Austrian Bowl) on that evening (in XDCam HD 422; a mix of 720p and 1080p) and edited it on June 24th with FCP-X.
The editing itself is the best I saw in many years (since Edit* maybe). FCP-X just rocks in that regard.
Of course I missed my production monitor and of course I needed FCP7 to ingest and also export the audio, but that is to be expected for a .0 release.
I miss a few features and it is definitely not to yet ready to replace any professional setup, but I think FCP-X will be ahead of the rest in a year.

But...it can be used professionally....my edits ended up on national TV (sent a MPEG-2HD file as always via ftp) and where played on a big screen in the city of the winning team. Nobody knows what I made it with, nobody cared, because it looked great; why shouldn´t it?

Thank god, American football is way more civilized than what you shot in Florence.
Re: First Cut with the New Final Cut
by ben g unguren
This is a good reminder that it isn't the software but the person operating the software, at least to a reasonable degree. And I think FCP X should be great for this sort of video (nice work btw).

As time presses on, I'm also hoping to hear how it works in other situations, such as extensive dialogue editing -- fiction and non-fiction -- and longer-format pieces. Obviously that will take time, but I'm curious if anyone is considering a feature-length piece with this yet....

FCP X is new software. So all us old-timers need to pick our next partner: Avid MC, Premiere, FCP X, something else.... Not migration, but emigration. Thanks for the additional glance into the land of FCP X.

Re: First Cut with the New Final Cut
by Tom Brooks
Some of you are no doubt right that there are deal-breakers for certain pro environments, but so much of what IS in FCX is a big leap forward. Right now, Apple is the only one going there. I say, bring as much of this as you can, Apple. Develop it, fix it, add to it, but PLEASE do NOT lose ANY of the new advanced features in this app. The new features are wonderful. The omissions need to be addressed but not at the expense of any new paradigms.
Re: First Cut with the New Final Cut
by Al J. Marschke
FCPX is PowerPoint for video. Every sales person will have a copy of it.

Thanks,

AL J. Marschke
BluMars Media
Pittsburgh, PA
@Al J. Marschke
by David Battistella
This doesn't bother me one bit.

I have sen incredible powerpoint (or keynote) and I have seen really bad stuff. POewrpoint isn't the problem.

David

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Re: First Cut with the New Final Cut
by Al J. Marschke
Premier can import FCP timelines flawlessly. Coincidence? Apple phases out its pro editing app and almost everyone jumps to Premier. What's next? Flash on my iPhone and iPad? Backroom deal? You decide. I guess only time will tell.

Thanks,

AL J. Marschke
BluMars Media
Pittsburgh, PA
@Al J. Marschke
by Sascha Engel
Really? How you do that? I'd love to know. I am totally not able to open any of my FCP Projects (version 6) in my CS4 Premiere.

Sascha
Re: First Cut with the New Final Cut
by Al J. Marschke
Good stuff. No one said you can't edit with FCPX. It cannot be apart of a professional environment. I could have done that with two inch tape. Not as fast but just the same. It was not designed for a company wide/ professional use. PERIOD!

Thanks,

AL J. Marschke
BluMars Media
Pittsburgh, PA
Re: Article: First Cut with the New Final Cut
by Bill Marcellus
Wow! Awesome! It looks the same posted on Vimeo as it did on your computer monitor...perhaps that is because you are watching Vimeo on your computer monitor? Hmmm....I wonder if your picture and audio would pass a network QC- or even worse, a film distributor's QC? I wonder how it would look in the actual color space that it will be displayed in?

I don't expect an answer to these questions because you cannot. At least not with the tools and functionality available in FCP X.

Maybe NBC could download your Vimeo video and reconform it for broadcast? Awesome delivery pipeline!

Oh, I forgot- what about the requirement that the timecode start before 00:00:00;00? Oops- can't do that either.

I am pretty sure that all of the major networks are quickly redesigning their workflows and delivery requirements to accommodate the "revolutionary" new FCP X.

As so many others have said, this may be a great tool to put together a highlight reel of junior's soccer exploits, but that's about all it's good for. In fact, that's pretty much what you have put together here- a highlight reel of an arcane competition, with a musical track playing in the background. There is no syncing of onscreen action to the music- you don't hit any "beats". There is absolutely NO story arc. This is just a random assemblage of documentary footage. It appears that FCP X excels at doing that.

I cut features and feature length docs. FCP X is totally useless for me. It doesn't interface with any professional cards such as my Kona. Oh yeah- I can get a "preview quality" output through my Kona- which is totally useless for color correction. No tape layback. No OMF export for the sound guy to sweeten dialogue, add SFX. No way to export a version for foreign release with dialogue on tracks 1 & 2 and music and effects on tracks 3 & 4 so that foreign languages can be easily dubbed. No way to export an XML for proper color correction. No way to open a project that I finished last year or the year before for additional editing for a new DVD release.

So it will be back to Avid for me.

I think that I will forever scratch my head as to why Apple would destroy ten year's worth of building an accepted, professional tool with this release. I do understand that they can now sell effectively to a much larger market. I DO understand economics. It is still mystifying to me- I guess it always will be one of those unanswered questions.

I DO know that we will not see any testimonials from the Coen brothers, et. al. about what a great experience cutting their latest film on FCP X has been. Because they cannot cut ANY theatrical film on FCP X.

But, you have put together a nice, little doc about a bunch of guys randomly slugging each other that you can distribute on Vimeo and YouTube. And for that, I guess FCP X rocks!
Re: Article: First Cut with the New Final Cut
by David Battistella
Geez Bill,

I'm sorry I have offended so many of your sensibilities. If you edit as well as you hurl insults I am sure you will be up for a few Emmeys next year.

I'd bet the cost of the software that I could easily take the cut as it exists, export a PR 4444 movie. Uploaded it to the FTP of a reputable transfer house, have them download it, output it to HDCAM SR and Fed Ex it to NBC for a QC.

Want to reccomend the house in NYC and put it on your FED EX account?



David

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+1
Re: Article: First Cut with the New Final Cut
by Bill Marcellus
David,

The point is that YOU are responsible for QC of both audio and video to the appropriate network's QC requirements BEFORE it ever goes to the network. I suppose that you could pay a post house for the transfer and have them QC it for you. This would just add to your expense and greatly reduce your margin. My point is that FCP X does NOT give you the tools to properly QC the material in the first place.

Also, please note that I did NOT demean anything about your video. All that I did was comment on what it is- a very loose, non-scripted documentary of an unusual sport. That there is no story arc, etc. isn't your fault. Like all editors, you are a hostage to the footage that you have at your disposal.

Very sorry if I offended you. I am just extremely disappointed by all of the omissions in FCP X which preclude the possibility of meeting normal, accepted delivery standards.

@Bill Marcellus
by David Battistella
and just for the record.

NBC
ABC
National Geographic
Discovery Channel
CBC
History Channel
Channel 4

...are of few of the people I have had to deliver broadcast docs too.

you might not be the only "pro" in the world.

That said. You didn't like my cut and you are entirely entitled ot that opinion.

David

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Re: @Bill Marcellus
by Bill Marcellus
David,

I am sure that you are way more of a pro than I am. I never questioned your credentials. Now that you have listed them, they are very impressive.

However, I am still puzzled that the lack of numerous features that are a part of a normal post workflow that are not present in FCP X don't concern you?

Re: @Bill Marcellus
by David Battistella
Bill

Just to be clear. I am watching this all very closely. My idea to cut something like this us to see what it is as an editing tool. I am concerned about the following:

- no option to move to a cc program if that is what I prefer.
- no option to move to an audio mix program of choice (including logic a great apple program )
- no way to open legacy projects.

But, to qualify. It will be nice to Hagen kona and BM support. Native red support.

I think the app is promising and needed. We needed a change in thinking in NLEs and Appke stepped up.

David.

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Re: First Cut with the New Final Cut
by Tom Brooks
David, I like that you just went out and used FCX. We keep hearing, "I can't use it because _____." You demonstrate that there's a lot that can be used--a lot of advanced tools. Without skimming and keywords, other NLEs look old-fashioned. Lucky for me, my work won't be killed by the current version and I can move forward with this software.. I have high hopes for future versions.
Re: First Cut with the New Final Cut
by Jonathan Ziegler
David, great footage, great looking film. Before I'd seen your video, I'd never even heard of the sport. I'm very encouraged as I will also be moving to FCPX, but I have to wait for September now as my budget just won't allow for it. Thanks for posting!

Jonathan Ziegler
http://www.electrictiger.com/
520-360-8293
Re: First Cut with the New Final Cut
by Ramses Alonso
Did you noticed there's a frame with no color correction at 2:05?
I still thinking FCPX is NOT a professional tool
@Ramses Alonso
by David Battistella
Yes,

But that was my mistake. Blame the operator on that one not the software.


:)


David

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Re: First Cut with the New Final Cut
by Sean Bates
Forget FCP-X, I've found my new favorite sport :) Great footage! Did you use the FCP-X tools to correct the 5D "wobble"?
@Sean Bates
by David Battistella
I did not use any of the tools for wobble. We recorded at 1/250 of a second so I think that was reduced, but I did not really need to try any of those tools out.

I'd be curious to see ho well it works.

One thing is for sure, the new app is fast, 64 bit makes a difference.

David

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Re: First Cut with the New Final Cut
by Grant Gomm
Hey David, I really liked your video. As you know from other posts, I still have my concerns. But since this is the first video I've seen edited with FCPX, who better to ask questions from?

I noticed you exported directly to Vimeo. Let's say you wanted that on Disc (I already know tape is out of the question). I never had a blu-ray burner so I'm not sure if/how DVD Studio Pro would have been able to author to Blu-Ray to begin with, but what if you wanted it on DVD and/or Blu-Ray? Is there a way to do that or is the only option to upload to the net or export a file for FCP7?

Do you know much about the new Compressor and it's integration with FCPX?

-Grant Gomm
http://www.blacklionproductions.com
@Grant Gomm
by David Battistella
You have the option of doing it all the old way. that is to export a full res movie and do wahtever you want with it in Compressor, or you can do it right from a menu item in the app.

I'd go the export and compressor route because then compressor can create mulitple streams of content for different delivery methods as needed.

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Re: First Cut with the New Final Cut
by Chris Harlan
Very fun piece to watch. Do those guys really all hit each other that much? I'm glad you can use it to do your job. It looks exactly like the kind of thing that X was designed to do. Sadly, I can't use it to do my job.
Re: First Cut with the New Final Cut
by Matthew Celia
Awesome work man.

As they say, the pro is the talent, not the tools. Thanks for sharing! I too have delved right in, and if the footage I am using wasn't owned by someone else, I'd post it up too.


----------------
FCP Guru
http://www.fcpguru.com
Re: First Cut with the New Final Cut
by Pat Harris
So did final cut automatically conform your 100fps footage to play back at 24? Or did you conform it to 24 when you transcoded it? Also, did you transcode within final cut? or before you imported it (from what your post said I would assume that latter, but I am unsure).

Great video, the color looks very fluid throughout, I would have never guessed it was filmed throughout two weeks, on many different days, and color corrected in an NLE, especially with all of what I am reading about FCPX. Good sound editing also, was that difficult to get used to, compared to using an stand alone app for sound?
@Pat Harris
by David Battistella
I just wrote an article about this. It's here:

http://library.creativecow.net/battistella_david/Film-Style-Slow-Motion/1

The RED footage was captured at a 23.98 time base at 100 unique frames per second, the same as a film camera.

FCP sees this as 23.98 footage and there is no rendering required. I like shooting speed in camera because it captures things the eye can not see.

To be clear, this is a film of one of the games on one day from distinctly different camera formats RED and CANON 5D mark II.

To get the look I balanced the luminance in Black and white and then added back color. The RED footage had a greenish tint and the Canon was a bit bit, so they had to be balanced back to a more consistent look.

I am fond of a desaturated look these days and I made that creative choice based on the lighting and to help represent the dusty atmosphere.

The RAW is much more punchy and videoish, especially on the 5D.

David

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@Pat Harris
by David Battistella
I forgot about sound.

I found it much like using the SOundtrack interface but within FCP. I prefer an OMF export to logic for a mic, but that was not possible due to limitations in the current software.

This said, I did not find the tools within FCP limiting.

As a "last pass" I was able to create a compound clip out of the sequence and add a multiprocessor too fill out the soundtrack, nice to have that ability.

David

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@David Battistella
by Pat Harris
Wow, the sound editing does seem useful.

And I just had a look at your article, I did not realize how the RED captures higher frame rate video, thanks for that.

So do you know if final cut has a conform option at all? I shoot on a 60D and currently use cinema tools on footage shot at 60fps to conform it to 24. Do you know if there is a way to do this inside the new final cut?
@Pat Harris
by David Battistella
I have to look into this further.

The material was all 25fps but the sequence was 23.98. There was a point I looked at this but it seemed like FCP was doing the retiming on it's own.

I would for sure still use Cinematools to conform 60 to 23.98 and then ingest into FCP-X but It ould be interesting to see if you still have to do that.
I ahve no 60P footage handy but Optical flow is built into the sequence setting so if you did what I did and put 25FPS into a 23.98 timline then the Optical flow engine can be engaged to get a clean render to 23.98, something you could do in compressor before, but is now built into FCPX.

David

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@David Battistella
by Pat Harris
very interesting, thanks for the info!
Re: Article: First Cut with the New Final Cut
by Sascha Engel
Nice work. Exciting film. But I still do not get your point?
I saw an amazing film done on iMovie, now they shot a feature on iPhone 4, yes it's possible. But the question do I want to?
I agree, coming from low budget film, anything is possible, but why the customer has to adjust to a product and not the product to the customers.
I still do not see, why this video justifies apple's action.
+4
@Sascha Engel
by Jeremiah Belt
Totally agree. Amen to that!
@Sascha Engel
by David Battistella
Sascha,

I don't write software. I can only use it as a creative tool. I am not trying to justify FCP-X, I am trying to use the software within my creative ability.

The point is I like to try something, know what it can and can not do and then form an opinion about where it can apply for me.

I chose to chare this with this community because I believe that it might help a few people. I wanted to run this software and see how it works and to experience it as a creative tool.
If I could write my own NLE I would, but then I would'nt be doing what I love, which is making films.

Apple has provided a new tool. I tried it and I shared my experience with the community.

David

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+2
Re: First Cut with the New Final Cut
by Jeremiah Belt
So no option for a higher resolution timeline codec or render? Also the lack of a broadcast monitor output is a huge issue for broadcast pros....computer monitors can't be trusted for color critical stuff. Man I hope they fix all of this.
@Jeremiah Belt
by David Battistella
It's coming.

I can say that the color in FCP and on Vimeo is identical, even after transcodes. That is a plus with the color managed workflow. The Color was all done in FCP with the new Color board. I found it easy to get a consisitent look, but the i did not use any of the built in stuff. The color match feature was not giving me the results I was looking for, so it was shot for shot CC.

David

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@David Battistella
by Jeremiah Belt
I do a lot of color grading work and was trained on DaVinci back in the day before BM bought them. I have been using Color until I transition over to DaVinci Resolve. For efficiency, speed, quality, and ultimate control you can't beat a Resolve. Color correction tools in an NLE are nice for quick fixes and some projects but for conforming and feature work you need a dedicated tool. They really need to open FCPX up for XML/EDL/OMF etc.. export or people will walk away. I'm praying they do cuz I loved my time with FCP.
@Jeremiah Belt
by David Battistella
Resolve is a powerful tool and the tracker is hands down the best one around. I think that BM has priced it correctly and as soon as the programs are able to speak to each other I think that many people will still opt for Davinci because it is a refined and powerful tool.

Right now, I actually have no choice but to finish in FCP if I initiate a project there. I did not dive into the secondaires as much as I could have.

The one thing missing is a quick copy paste of a grade. Like I could not just copy a grade from one shot to another. I could save a preset and apply it, but without the Shape masks,

This is a current shortcoming. When you are grading and are in a series of shots that needs the same correction (like from one camera) it's not as easy as copy paste. That would have been a time saver.

David

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@David Battistella
by Jeremiah Belt
Absolutely agree about Resolve. An NLE is not a grading tool, and pro grading will always be done outside of the NLE. But it's ludicrous to me that everything, including FCP 7, could already speak to DaVinci Resolve. To release a product that is less capable then the one before is silly. I suppose you could take a generation hit and export the timeline uncompressed and use Resolve's scene detection to splice it back up again. But that isn't ideal. Though without Native support and the ability to link back to the original R3D Red files I guess there isn't that big a difference grading on the transcoded material in FCPX vs. exporting that uncompressed and grading that in Resolve.
I'm glad to hear that the color tools, albeit unconventional, are improved over the abysmal color tools of FCP 7.
Re: @Jeremiah Belt
by Geoff Dills
Was the slo mo done in camera or in final cut?

Best,
Geoff
@Geoff Dills
by David Battistella
All slomo was done in the camera.

That was shot 2K 2:1 RC 28 to CF cards.

100 fps with a shutter of 100fps.

David

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Re: First Cut with the New Final Cut
by Jeremiah Belt
Did your ProRes 4444 footage stay as such in the edit? I hear FCPX auto transcodes everything to HQ or proxy.
@Jeremiah Belt
by David Battistella
The timeline was 422 (HQ).

The export was from a 422 (HQ) timeline.


David

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@Jeremiah Belt
by David Battistella
They have streamlined the timeline. It's Prores or uncompressed now. I like that.

David

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@David Battistella
by Jeremiah Belt
Oh so there is an uncompressed option. That's good. I had heard otherwise which scared me. All the way to 4444?
Re: First Cut with the New Final Cut
by Benjamin Oliver
It's a bit long. I wonder if Walter Murch had edited and put The English Patient minutes after his first cut if it still would have been as great?
-2
Re: Article: First Cut with the New Final Cut
by Ross Tokach
FCPX is like cutting on imovie...

"Oop, I think my render is done!"
-2


Related Articles / Tutorials:
Apple FCPX - Final Cut Pro X
FCPX: Three Camps - The Pro vs. Non-Pro Debate

FCPX: Three Camps - The Pro vs. Non-Pro Debate

Three camps of thought seem to be quickly emerging in the forums and the excitement surrounding the release of FCPX. Step back and take a broad look at all of the information in the mighty deluge that has flooded the Final Cut Pro X Forum. Which category do you fall into? Use this to help make the critical decisions for the future at hand right now.

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David Battistella
Apple FCPX - Final Cut Pro X
FCPX - Final Cut Pro Flux

FCPX - Final Cut Pro Flux

As the world of post-production enters dramatic changes as of this late June 2011, with the introduction of Final Cut Pro X, Dennis Kutchera looks at the inevitable flux of new technology and what really works for the editing professional and offers some intelligent solutions for a not-yet obsolete workflow.

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FCPX - Response to David Pogue’s  “Professional Video Editors Weigh In on Final Cut Pro X”

FCPX - Response to David Pogue’s “Professional Video Editors Weigh In on Final Cut Pro X”

In the continuing debate about the future of FCPX and video editing, David Pogue addresses the concerns of professionals. In response to David Pogue’s “Professional Video Editors Weigh In on Final Cut Pro X”, Richard Harrington adds his voice to the growing list of concerns and solutions.

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Apple FCPX Techniques
FCPX - Using Match EQ in Final Cut Pro X

FCPX - Using Match EQ in Final Cut Pro X
  Play Video
Match EQ is a welcome addition to the audio functionality in Final Cut Pro X. Adopted from Logic Pro, this tool is as easy to use as it is powerful. While Soundtrack Pro provided a similar function, this new implementation in FCPX has more options. If you aren't obtaining your desired results using the automated match, you can delve in deeper to get the custom results you are looking for.

Tutorial, Video Tutorial
Sam McGuire
Recent Articles / Tutorials:
Field Production
“Before I forget: don’t wear any underwear.”

“Before I forget: don’t wear any underwear.”

Before coming to Creative COW, before his lives in product marketing and product management at Avid and Boris FX, Creative COW Editor-in-Chief Tim Wilson ran a video production company. As we also observe the 100th Anniversary of the founding of the US Parks Service, Tim recalls one one especially memorable adventure to Everglades National Park, wherein he found himself quite literally up to his armpits in alligators. He had no idea that this was going to happen when the day began. At the time, he was focused on a brand new fear: getting sliced in half by burning underwear.

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Art of the Edit
The Science of Editing

The Science of Editing

Sven Pape, aka @ThisGuyEdits, joins Dr. Karen Pearlman -- former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards -- for a provocative look at "Editor's Thinking," a cognitive skill set that you can use to improve your screenplay before you start principal photography of your film.


Sven Pape
Panasonic Cameras
Shooting MTV's Mary + Jane with Panasonic VariCam 35

Shooting MTV's Mary + Jane with Panasonic VariCam 35

To shoot the ½ hour scripted comedy series for MTV, Mary + Jane, the producers at Television 360 enlisted cinematographer Charles Papert (Crazy Ex-Girlfriend, Key and Peele), who found that Panasonic VariCam is a great fit for moving fast and getting great images when time and resources are scarce.


COW News
Adobe After Effects
Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-in for Adobe brings all the amazing features of the professional version of the mocha Planar Tracker directly into After Effects and Premiere Pro in the form of a plugin. In this in-depth review, After Effects tutorial guru Tobias Gleissenberger of Surfaced Studio will show you what you can do with this new plug-in, and discuss what he likes and doesn't like about the new update.

Tutorial
Tobias Gleissenberger
Apple Final Cut Pro X
Hawaiki Keyer 3.0 Upgrader Tutorial

Hawaiki Keyer 3.0 Upgrader Tutorial

After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion. Discussions in COW forums led him to create the highly regarded Hawaiki Keyer for Mac users using Apple Final Cut Pro X, Apple Motion, and Adobe After Effects and Premiere Pro on Mac as well. Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour of the even more advanced Hawaiki Keyer 3.0.

Tutorial
Simon Ubsdell
Cinematography
All Eyes on IBC 2016 for Cameras and Lenses Galore

All Eyes on IBC 2016 for Cameras and Lenses Galore

What’s that you say? An IBC that’s not only relevant, but downright exhilarating? This used to not be news, of course. However, in recent years, IBC has too often become simply an opportunity for European audiences to see products already announced at NAB. In 2016, however, the focus swings sharply to Amsterdam, especially when it comes to cameras and lenses. IBC 2016 is shaping up to be one of the most dramatic trade shows for cinematographers, broadcasters, and videographers in years. Join Creative COW Editor-in-Chief Tim Wilson for a speedy overview of some of the highlights.

Feature
Tim Wilson
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