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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 :)

Info on Final Cut Studio 3

Joe Walker

Joe Walker

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This may have already been posted but check it out again anyway:

http://www.apple.com/finalcutstudio/

You can now export out of Color at 4K but you still have to use Log and Transfer in Final Cut Pro as far as I can tell, so I guess that means no editing r3d's on the timeline. Oh well. Enjoy, post your thoughts.
 
Actually we have been editing R3Ds on the timeline in Final Cut for a while now. If you set L&T to native mode, it just wraps the R3D as a QT MOV. ...Some people still feel this is not "native", but it is and as close as we'll ever get without Apple dumping their QuickTime infrastructure. This is how Apple handles most every other non-QT format that comes into Final Cut. Simply take the data and package it as a QuickTime...

I really wish Apple would move on from this archaic way of doing things... I'd love to be able to just drop R3D files right onto the timeline as we can in Premiere or Vegas.
 
Now the question is, will FCP 7 and Color 1.5 work directly with RedRocket in 4K?
 
Has anyone seen any specs on the frame size limitations in FCP 7? You would think they would at least open it up to handle native RED 4K, especially since RedRocket is here.
 
Clint Childers said:
Has anyone seen any specs on the frame size limitations in FCP 7? You would think they would at least open it up to handle native RED 4K, especially since RedRocket is here.
Click to expand...


All I saw was that Color now directly supports 4K, and they mention explicitly the RED ONE.

FCP7 now features "ProRes 4444", to which I was not able to find any more info.
 
Is anyone else underwhelmed by this release? There's a few handy bits for sure, but somehow I was hoping for more. At least now Motion has cast shadows and DOF options finally.
 
Yes, I was a tad under-whelmed as well. I mean, I will give them credit for making a few changes but there was a heck of a lot more room for improvement.
 
Apparently now Compresser can throw out a bluray h264.
quote
A new setting lets you create H.264 files that are compatible with Blu-ray players.
unquote.

but dvd studio is still at version 4 with no bluray burning.

So, apple wants you to encode to a bluray h264 and then... use someone else's software to finish? that's insane!
 
Same feeling here as well. Seems like a 6.0.whatever release, not a whole step up.
 
Seems Adobe still offers far superior compatibility for RED, especially with their latest update. I was hoping Apple would do something like Adobe as far as ease of changing resolutions with .r3d files.
 
It says camera native workflow, but not clear how it handles R3D metadata in FCP. Any info from RED team?
 
Michael Grob said:
FCP7 now features "ProRes 4444", to which I was not able to find any more info.
Click to expand...
Only other info I was able to find is 330Mb/s datarate - which means 444 @ about 42MB/s, so well within good external FW drive speeds. That's a great bit of news, but I'm with the others here that it's probably not worthy of a whole version step.

Interestingly, the other really major change is 4K in Color (and is there bloody support for 3K is the big question?? I shoot a lot of 3K as 2K doesn't cut it for anything above a 720p finish in my books) - but that has only had a point increase in it's version number!

Oh well, whatever!...
Dom.
 
I'm underwhelmed, too. Unfortunately, that's the way it has been the past couple of years with FCP.

The real problem is that I was expecting this HUGE re-write due with Snow Leopard this Fall. With this coming out now, I'm doubting that they'll release an entirely new version in a couple months.

Bummed about that. They really have some issues to work out with FCP and need to do it soon...
 
JoshBertrand said:
Is anyone else underwhelmed by this release? There's a few handy bits for sure, but somehow I was hoping for more. At least now Motion has cast shadows and DOF options finally.
Click to expand...

I'll reserve final judgement until I get my hands on it, but so far I'm not too excited. Most of the big features that a lot of people have been hoping for, seem to have been ignored. The new Blu-Ray abilities just seem to be insult to injury. The new ProRes 4444 is nice too, even though most of us saw it coming and were hoping for it last year...
 
The only thing that may keep me rooted in FCP is Color. If I can reconform a color sequence based on a re-edit in FCP that is a lot faster than manually readjusting my grades in AE.

Let's see which company best interfaces with RedRocket though. That may be the real deciding factor. Something tells me it will be Adobe. They seem to be faster at updating their Red workflows lately.
 
The specs of FCP7 say about RED RAW:
"RED (with additional software from RED) import through Log and Transfer with automatic logging, custom naming, browse, mark, and background ingest"
 
To save Jeff writing it again and for the next person about to post it. FCP has "native" supports R3Ds just as much as it does for any other format upon a transfer into QT (the only editable format in FCP).
Question in regards to the new release is whether it preserves the metadata upon ingestion?
Kick ass if it does!
 
You guys keep saying this about "native" support, but I'm not sure you're right. Tell me if I'm wrong here.

We regularly work with EX HD footage. We bring in files that were shot 1920 x 1080 and yes, FCP's log & transfer program re-wraps them. We can argue whether or not that is "native" or not.

However, RED files when brought in, get sized DOWN to 2K files as FCP does not support 4K editing. Are we in agreement on that? If so, if the size isn't supported, how do you argue that "native files" are supported?

Again, I'm not that geeky when it comes to my codecs, but I think this is why I don't consider it to "Natively edit 4K" files.
 
Kevin Wild said:
However, RED files when brought in, get sized DOWN to 2K files as FCP does not support 4K editing. Are we in agreement on that?
Click to expand...

I don't agree. FCP doesn't support 4K monitoring or output, but it doesn't down-res the media. It just interprets the 4K files as 2K so it can get the work done in the timeline. Who needs to monitor in 4K while editing? I don't.

The difference is now that Color will be able to take that timeline and same re-wrapped "native" media from FCP and output 4K at the end.
 
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