Singular Software Brings PluralEyes to FCP X
: Debra Kaufman
: Singular Software Brings PluralEyes to FCP X
, a Vancouver-based company that develops workflow automation applications for video production, has released its PluralEyes for Apple Final Cut Pro X
as a public beta offering
. PluralEyes accelerates the workflow for multi-camera, multi-take and dual-system audio productions by synchronizing audio and video clips automatically without the need for timecode, clappers or other special preparation. Singular Software, which was founded in 2008, has previously released PluralEyes for Final Cut Pro versions 5, 6 and 7.
Singular Software CEO Bruce Sharpe
"We're interested in extending our support to FCP X," says Singular Software CEO Bruce Sharpe. "Because Final Cut Pro X is so completely different than earlier versions - including the development interfaces we have to use to integrate with it - it took us a ways to get going. We were able to take advantage of the HTML interchange specs they now have, and bring the power of PluralEyes automatic synch technology to FCP X users."
According to Sharpe, Singular Software has a large Final Cut Pro user base, many of who employ multi-camera and dual-system audio workflows, "relying heavily on PluralEyes to facilitate the media sync." "We had a lot of requests from FCP X users for this," he adds. "It's been a pent-up demand." Singular Software's user base is the mid-tier professional, typically boutique production companies or small businesses producing video. "They're professionals and have clients and do a variety of production work, from wedding videography to events, corporate or music videos," says Sharpe. "Around that core, we also have high-end network, studio and TV clients as well as independent filmmakers."
For those users who have gravitated to FCP X, the many changes from previous versions include the lack of a feature impacting PluralEyes users. "The multi-camera editing capabilities aren't there yet in FCP X," says Sharpe. "It's supposed to come out in early 2012. So editing multi-camera in a multi-angle display, switching in real-time isn't there yet in FCP X. We have to wait for those features to be added." He adds that "integration is not quite as tight" as it was in FCP 7. "Now we need the user to export the HTML representation of the file, whereas with FCP 7, that all worked in the background," he says. "But that's a small difference. The FCP X user gets the same features and proven technologies that have been part of PluralEyes for some time."
In a multi-cam sequence, the clips are on their own track. Larger view available - click image above.
PluralEyes creates a copy of the sequence, but with the clips moved to the correct synchronized locations.
Sharpe also addresses the fact that FCP X already does automatic synch. "It's pretty common for nonlinear editor vendors to include basic functionality for automatic synch that 3rd parties extend and expand on," he says. "That's where we are. The automatic synch available in FCP X will be adequate for some people. But to go beyond that, we have PluralEyes."
Complete your dual-system audio, multi-camera, or multi-take shoot. Before...
...and after the automatic synch.
When the public beta is complete, any current customers of PluralEyes for FCP will get a free update. New customers will pay $149, the same price charged for previous FCP versions.
What's clear from Singular Software's move is that enough Final Cut Pro users have adopted X to make it a go-to version for updating 3rd party software. It makes sense to serve that market which has been clamoring for an upgrade. By extending PluralEyes to FCP X users, Singular Software makes it clear that they're in for the long-haul in supporting Apple's NLE users.
|Related Articles / Tutorials:|
Singular Software Connects with Adobe CS6
Singular Software has announced the public beta of PluralEyes 3.0 for Adobe Premiere Pro CS6 with the mindset of always seeking to make a smoother workflow with audio/video synchronization as a simple extension within Premiere Pro CS6.
|Recent Articles / Tutorials:|
Business & Marketing
Media after Millennials: A Teen’s Research on Viewing Habits
As a fifteen year old high school sophomore, Helen Ludé has her priorities in order: varsity soccer, Snapchat and Instagram, and presenting research on Post-Millennial Media and Cinema Consumption Habits at SMPTE’s Future of Cinema Conference. Spurred on by a dinner conversation with her family (including her father, RealD’s Peter Ludé), Helen conducted a survey of her peers to uncover the viewing habits of her generation, otherwise known as Gen Z. You're going to be surprised by what she found, and deeply impressed (and a little intimidated) by this enterprising young woman.
Feature, People / Interview
TV & Movie Appreciation
Star Wars: How Much Is Too Much?
When Disney announced that they would be making a new Star Wars movie every year for at least 10 years I was both excited and a bit skeptical. In 2012 when Lucas sold his company to Disney for $4billion, he included his outlines of Episodes VII, VIII and IX. But Disney and Co. decided to discard these stories and start over, also discarding the extended universe of comics and books that millions of SW fans had grown to love. Adding JJ Abrams to the mix was icing on the cake for SW fans who have become critical of SW. But Lawrence Kasdan was the saving grace, who wrote a script for VII that the original actors could get behind. So, how much Star Wars is too much?
Review, Editorial, Feature
Art of the Edit
Editing Marvel's Black Panther: Debbie Berman ACE
This is an epic tale spanning two decades, three countries, 12,000 miles -- and that's just the story of Debbie Berman, ACE, starting in reality TV and indie film in South Africa, making her way to Canada and then the US to edit Marvel's Spider-man: Homecoming and, most recently, Black Panther, already one of the most popular films of all time. In this exclusive interview with Creative COW Managing Editor Kylee Peña, Debbie talks about struggling toward US citizenship, a serendipitous meeting with an ambitious young director, helping to bring representation to the big screen and pride to her home country.
People / Interview
Westdoc Online interview with National Geographic Channel's VP of Development, Charlie Parsons
Charlie Parsons is Vice President of Development for the National Geographic Channel, responsible for developing new projects, discovering new talent and serving as one of the network’s main points of contact for the global production community. Since joining the Channel in 2010, Parsons has developed popular series “Doomsday Preppers”, “Inside Combat Rescue”, “Mars” and “One Strange Rock”, as well as the global natural history event “Earth Live”. He developed the Emmy Award winning Special “Space Dive”,as well as the Emmy Award winning feature doc “LA 92”. He also served as an Executive Producer on the network’s most watched program in history, the Emmy nominated three-hour movie event “Killing Jesus”, as well as the second and third most watched programs, “Killing Kennedy”??"also Emmy nominated for Outstanding Television Movie??"and “Killing Lincoln”, respectively.
Editorial, Feature, People / Interview
Avid, Adobe, Blackmagic: Talking With Titans at NAB 2018
As much as each year's NAB Show is about what's completely new, it's about hearing what's new from the industry's most enduring companies. Creative COW Contributing Editor Hillary Lewis sat down with representatives from three of the biggest titan companies in production and post -- Avid's David Colantuoni, Adobe's Laura Williams Argilla, and Blackmagic Design's Dan May -- to discuss the thought process behind their releases, what people might overlook, and their outlooks on the future of the industry.
Adobe After Effects
Fancy Title Animations In Adobe After Effects -- FAST!
Follow along as VFX guru Tobias Gleissenberger shows you how how to quickly create professional-looking animated text elements using the free presets that are included with Adobe After Effects, customizing them to suit your needs. Tobias will also show you how to apply masks to your text layers to have them appear from behind other elements.
Get The Shot Without Getting Shot: Adventures in Stock Video
Rick Ray of DVArchive has traveled the world, lived in a Buddhist monastery in Thailand, played ragtime piano for money in Australian bars, and both been arrested in Ethiopa and recruited those same police to be in his videos the very next day. In his NAB Show presentation for Adobe Stock, Rick gets specific about how to make real money in stock video following your passion around the world, what kind of equipment to choose and avoid, and yes, some advice about talking your way out of trouble.
Pure Mission: NAB 2018 Highlights for Video Creatives
Everyone who attended NAB this year was on a mission. A mission to create the best content, a mission to deliver content to the right audience, a mission to produce great films for device and theatre viewing. We'll start by discussing some of the best solutions for some of the creative people we know - shooters, production/post folks. And there was plenty of new products, new services, new features announced at the show to get a filmmakers motor running this year. And again SuperMeet was fun, insane and informative. Shoot it, produce it, store it. Then? Sell it. It's all good and getting better!
NAB 2018: Journey, Connections, and Life-Changing Takeaways
Many people say that the best thing about the NAB Show is the people, but then their NAB conversations are mostly about products. Thanks to a grant from the Blue Collar Post Collective, longtime Creative COW member, editor, licensed drone operator, podcaster and videographer Hannah Byars-Walker set out to build an NAB experience not around this year's gear, but around the people she'd meet who could change the course of her career, if not her life. This is her inspiring story of what happened next.