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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

FCP/red 2009

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Cüneyt Kaya

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FCP 2009

1st, i am excited that r3d files will be read by Color natively in the not so distant future...

but what do you think will happen with FCS2?

RED has some impact on Apple right now (Color/fcp)...something happens.

Will this happen?

Fcp gets a new 10 bit RGB render engine----dont know if this is difficult or easy

10 bit RGB effects/titles

FCP can read DPX files natively

N`vidia cards fully supported (i dont quite get why apple sells N`vidia cards with their hardware and was not able to solve this problem

Motion can read r3d files/or redcode 444 natively....

Bug fixes in COLOR,

Gamma problem is fixed

FCS2 becomes a 4k system through all applications
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RED introduces REDCODE 444.....similar workflow like Cineform available.

aja kona can feed monitors with 4k and can be used as accelarator for red stuff
RED 4k Projector for 10 k
red ray ( THIS IS THE TRUE REVOLUTION !!!!)
RED 32 GB CF cards

This would be awesome.....

edit:
change 4k with 5k, so epic users can use fcs2 too...

me thinks red is doing something with apple behind the doors....and i hope at least for apple it can be a oppurtunity that fcp can be used as ONLINE Finishing system...
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what i ask myself : is it so difficult to implement these things? Adobe has it already...
 
this is a moment who the fastest can achive a lot...

Adobe has almost everything, Cineform RAW/Cineform 444 is like a mirrored entity of reds stuff...

adobe has some weaknesses....and dont have a cool CC tool...but they really can start like a rocket if they move fast.

So when apple doesnt do something, it could happen that after the release of the sdk, a lot of people switch to Adobe/cineform/ and Speedgrade as long as adobe doesnt have a CC tool, maybe they buy Speedgrade?
 
There's no indication that Apple is doing anything other than what they have been doing. Giving us amazing tools and affordable prices. Their secrecy is a hallmark for the company. Red is following that model and it works well.

Final Cut Studio will continue to get better. It will continue to be a thorn in the side of systems makers like Autodesk and Quantel. As quiet as it's kept, everyone has forgotten that Apple is working on the new version of Shake. That app will no doubt enter the Final Cut Studio bundle, in a similar fashion they did with the Logic Studio bundle.

Let's review. Final Cut Studio 2 is:

Final Cut Pro
Color
Motion 3
LiveType
Soundtrack Pro
Compressor
DVD Studio Pro

and, probably, the new Shake, here very soon.

This is an amazing time for digital artists. You have company's like Apple and Red shaking the world up with groundbreaking technologies at prices that make it as easy as anytime in history to be creative.

It's hard to be that Apple would come all of this way with creative tools to stop developing software that make their hardware a top seller. It's non-sense. It would wreck havoc on everything they've worked hard to build up including their stock price.
 
YUP, I used to think in those lines, but then there's been so much non-good stuff happening recently.


Phenomenon? Right. I'm onto Nuke as we speak, because Shake is so crippled (in the meaning of: system and QT updates has made it less usefull than when it was abandoned...)

QT: Gammashift issues
Rendering: No 10 bit RGB (even though Shake and color can handle it)
Clustrered background rendering anyone?

FCP was a great app for what it was initially made for, and I REALLY want it to grow with RED. But there needs to be done stuff soon.

I'm considering both premiere and AVID (gee, I wouldn't have seen thatone coming a year ago...) because of these shortcomings.

4k files is not my issue with FCP... But it would be good if they opened up for those last 96 pixles...
 
Hey, I understand. If you're under some pressure to have tools that can do what you need to have done right now then you have do what you have to do.

Though I grow impatient with these company's and their development cycles sometimes I'm committed because they are pretty consistent. It's pretty expensive to keep up with the hardware requirements let alone keeping up with the software advances. For me, I've found that sweet spot and I'll wait them out. I've gotten my setup to where it's working for the most part.

When a company like Red gives us a roadmap like they do and Apple is doing as well, you can project down the road. So, I'll be saving my pennies for Scarlet. And, I'll wait for my next Final Cut Studio update. The last one was pretty serious when they gave us Color. Just a few months before I was about to spend $5,000 with Final Touch (the makers of Color). Then, Apple buys them and adds it to the Studio Bundle, along with the great updates in Motion 3 and other apps. It takes time to get down the road with this stuff.

But, if you have pressure you have to what you have to do.
 
KeithHill said:
As quiet as it's kept, everyone has forgotten that Apple is working on the new version of Shake. That app will no doubt enter the Final Cut Studio bundle, in a similar fashion they did with the Logic Studio bundle.
Click to expand...

Its always great to be enthusiastic. But: No one in the industry believes that Apple will develope Shake2. Shake has been for last 10+ years the de-facto standard for compositing (feature film). This is over now. Nuke is the new Shake (if we talk about cross platform).

And actually I am happy with this. As a long time Shake user I found Apple not the best "mother"...

Hans
 
BTW- if you're willing to spend a few extra $ you can make FCP and all QuickTime apps DPX-native compatible right now with the Glue-Tools DPX Component. We have this plugin and it works like a charm, great workflow:

http://www.gluetools.com/downloads_dpx.html

-Noah
 
It's got nothing to do with being enthusiastic. This came straight from Apple. They stopped development on Shake and put their Shake Team on developing the new iteration. So you can't say that 'nobody in the industry'. That's not true. Like I said earlier, do what you have to do.

You don't have believe what I'm saying. Buy what you need from who has it available right now. If that's what you want. But, don't clump me into some category like I'm some standard bearer for Apple (I'm not). I didn't just grab this off the top of my head.

And, if someone needs some support or development with the last version of Shake you can go to http://www.shakesupport.com/ and get Billy (former Shake Support Engineer for Apple) to write some code for you.
 
NoahK said:
BTW- if you're willing to spend a few extra $ you can make FCP and all QuickTime apps DPX-native compatible right now with the Glue-Tools DPX Component. We have this plugin and it works like a charm, great workflow:

http://www.gluetools.com/downloads_dpx.html

-Noah
Click to expand...

Yup I saw a GlueTools Demo @ NAB this year. Its a must have.
 
FC Server looks very cool - I think that is a big statement that Apple is invested in their pro apps - don't you?
 
Hoffman said:
FC Server looks very cool - I think that is a big statement that Apple is invested in their pro apps - don't you?
Click to expand...

Big time. This is part of a bigger picture that we are only starting to see. Problem is we all want everything now, and software has never worked that way.
 
No... but RAW editing in FCP with a RC like plugin for onelight was demoed/reported @ NAB 2007 (according to shawn) and COLOR with RAW support was demoed this year. Sometimes there are more than the really obvious that sets the timetable for things...

THOUGH!

I have a faint hope that this whole "build 16/SDK/RAW workflow" thing is sorta souped together. I'll wait till things are out of beta. But then... :)
 
I just did. share. But, as you know, no one outside Apple and those under strict NDAs is going to go into any detail. What I stated was the last known statement from Apple. Since then it's been silence. Which is what they do so well.

I don't occupy my time wondering where they are in the process. It's too many people wasting their time with that kind of stuff. We'll see it when we see. It's the same thing with Scarlet.

Red made the announcement last year. They showed us something this year with a target release date. That's all I need. Other than try to make some feature suggestions on the threads where they are asking for input I'm going to get caught up in this 'Red Crack' hype stuff. We'll see it when we see it.
 
Shake was EOL'd so they could get around having a Linux Version, in my humble opinion. As long as they called it Shake, they had to have a Linux Version and that was eating into their hardware sales plan.

i think they scrapped the entire codebase and started from scratch. Not to be confused with Scratch. It's hard to make a world class product of that magnitude when you start from nothing, or start with a Motion code base. It will take time. I believe.

We have a demo of RED log and Transfer, and a working workflow RIGHT NOW, with a FULL 2K finish from the native R3D files very soon.

Color is so easy to work with as well, and I'm using an NVidia card. I just realized I painted my walls the wrong color! I've done 2 feature films color corrected soley in final cut using the 3-way color corrector. Re-doing on of those in Color really makes you appreciate the power of that software for this specific task. When Phenom gets here, it's going to be fantastic for compositing.
 
I agree with you tomk. It takes time. I was happy to see Apple acquire Final Touch nka Color. I knew they were serious about breaking into serious production houses at that point.

Did you see the announcement from TangentDevices when they presented the Waves control surface for Color? Coming in at around a $1,000.00. One of our FCP gurus here in Dallas that writes for Videography & DV Magazines saw it at NAB and said that it's sturdy and that it works.

Check it: http://www.tangentdevices.co.uk/products_wave.asp
 
Yeah man. I knew someone was going to step up to the plate. Tangent's high-end controllers cost 25K and up. There's too many Final Cut Studio users in the world to not try to give them one affordable Control Surface at a great price.

That's what I'm saying, this is the 'day of the digital artist'. The tools are here now or are on the way.
 
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