Tonight 7:pm PST FCP Supermeet- Switchers or Quitters

[shashbugu]

I see this more like an online final conform tool with background rendering more than a traditional edit tool ( silly for me to say all i saw was a crotch shot) Because it float based time line, color matching, audio tools, and an unprecedented proposed rendering engine. I have not seen it but that Imovie source window irks me. I hope they have a button that allow you to switch between the new and old interface. Besides that its pretty impressive.

 

[ChrisLyon]

Well with Adobe Premiere swinging in yesterday with CS5.5 native R3D ingest it seems like perhaps Apple was playing FCPX closer to the chest than Adobe was with 5.5. However, Adobe didn't make mention of 5k either. So I suppose these will be incremental upgrades as EPIC permeates the professional world. Until then, it's QT proxies or ProRes encodes FTW.

Edit: I was most impressed with the new nesting feature. Can't remember what it's called, but basically they're treating it like audio takes in Logic or ProTools. Someone posted somewhere that it was nesting done properly. Nesting still has its place, but multicam video or simplification of other sync'd media should be great now.

I'm sure the facial recognition and shot recognition (WS, MS, MCU, etc) will go horribly wrong. Still probably best to have an assistant editor do all of your logging.

 

[Kevin Wild]

My guess is they will. They've always allowed options in how you have windows laid out. Hopefully they will still.

I have not seen it but that Imovie source window irks me. I hope they have a button that allow you to switch between the new and old interface. Besides that its pretty impressive.

 

[Eirik Tyrihjel]

I wonder since they are talking about a ceiling of 4k, how that effects RED 5k footage. I mean at this point they didn't announce any RED support natively and 5k is here already.

Exactly. I am gearing up for 5K, and this will obviously not handle that.

 

[shashbugu]

I wonder since they are talking about a ceiling of 4k, how that effects RED 5k footage. I mean at this point they didn't announce any RED support natively and 5k is here already.

It wont affect Red in any Way, the Epic according to Red is a 4K camera, there will be no need to output or edit to 5k in the near future.

 

[Robert Frank]

I really need to learn the details too. This way of disseminating information seems more geared for hype than education.

 

[ChrisLyon]

It wont affect Red in any Way, the Epic according to Red is a 4K camera, there will be no need to output or edit to 5k in the near future.

Right but it's a 5k workflow for 4k output. Even RED's projector is still sitting at 4k which will be the presentation format for the next 5-7 years, but 5k is a workflow. It has everything to do with the NLE and post process world.

 

[shashbugu]

Right but it's a 5k workflow for 4k output. Even RED's projector is still sitting at 4k which will be the presentation format for the next 5-7 years, but 5k is a workflow. It has everything to do with the NLE and post process world.

Got you

 

[Santiago Marti]

Well with Adobe Premiere swinging in yesterday with CS5.5 native R3D ingest it seems like perhaps Apple was playing FCPX closer to the chest than Adobe was with 5.5. However, Adobe didn't make mention of 5k either. So I suppose these will be incremental upgrades as EPIC permeates the professional world. Until then, it's QT proxies or ProRes encodes FTW.

Edit: I was most impressed with the new nesting feature. Can't remember what it's called, but basically they're treating it like audio takes in Logic or ProTools. Someone posted somewhere that it was nesting done properly. Nesting still has its place, but multicam video or simplification of other sync'd media should be great now.

I'm sure the facial recognition and shot recognition (WS, MS, MCU, etc) will go horribly wrong. Still probably best to have an assistant editor do all of your logging.

Premiere has 10k support since last year or so, and announced an epic plugin for next month. I use CS5 for editing 4.5k files from red m-x in real time in 4.5k sequences, no background rendering cause it is realtime. Apple blew it.

 

[Geoff McLeod]

So was their any mention of the suite? Any hint on whether apple are going to improve their compositing offering? Final Cut is great for me right now but it on compositing that a giant hole needs to be fixed in their suite of tools. No hint? No mention??

 

[ChrisLyon]

Premiere has 10k support since last year or so, and announced an epic plugin for next month.

Good to know. I've never used it for RED footage, so I obviously have never needed to look it up. And with Adobe's native RED color support, etc announced for 5.5, it seems like...

Apple blew it.

...but there's still 3 months to go till launch.

So was their any mention of the suite?

None at all. Which begs the question of the cost of FCPx. It was harolded as an accomplishment, but will we all get boned in June when we pay $299 for each pro app with no upgrade path because it's through the AppStore?

 

[Geoff McLeod]

I guess I'll go back to waiting for the day that shake or something like it makes it's way into the suite.

 

[Robert Frank]

So was their any mention of the suite? Any hint on whether apple are going to improve their compositing offering? Final Cut is great for me right now but it on compositing that a giant hole needs to be fixed in their suite of tools. No hint? No mention??

No mention. Nothing about any of the other app in FCS or if the suite will be offered at all.

 

[ChrisLyon]

Man some people were just glued to Shake. It wasn't that good. Nuke and AE among others are so far ahead of Shake now that it seems pointless for Apple to even try. Same goes for Motion, CinemaTools, and LiveType.

 

[Robert Frank]

Man some people were just glued to Shake. It wasn't that good.

I got it at the $499 price. Yeah it has limitations and the UI is horrendous, but the nearest app would be Nuke (I guess) at $4500.

 

[shashbugu]

Whats there not to like? For $299 its a no brainer. Its cheaper than most Fcp 7 plugins. These guys know what they are doing, I believe if you take the time to learn it when its released you might like it. I am very impressed with the new Adobe offerings and I strongly believe Adobe will make serious inroads for the independents like me and I can always XML out to FCP, (if XML still exists, it exists in iMovie) if I need to. At $299 the title of this thread that I started declares Apple FCP a winner purely based on price and the limited info shown here. 60% of FCPX features already exist in CS5. Remember i'm an Adobe fanboy, but I mean whats not to love at $299 see below. www.photographybay.com


10:08: Peter Steinauer, Architect of FCP. Rebuilt from ground up. “Final Cut Pro X”
10:09: 64-bit confirmed. That got a huge applause.10:11: Just revealed a screenshot. It’s sexy. Will have pics soon.

10:14: “Fully color-managed Final Cut based on colorsync.” “Resolution-independent playback system” Up to 4K formats. To be able to deliver that, “we’re leveraging Grand Central Dispath.” You can use all 8-cores. Background rendering built into application.10:16: No more waiting for ingest. Media is ready for editing even before ingest is completed. On the way in, media can be analyzed for stabilization. Deal with rolling shutter on the way in.

10:17 People detection. Shot detection. It will find medium shots, CU shots, etc. on the way in. Automatic non-destructive color balance as it is being ingested.

10:18: Automatic audio clean up on the way. Options to rid hum, rumble, etc. on the way in.

10:19: Range-based keywording. You can select ranges inside your clip and apply keywords to those ranges instead of just keywording the clip. No subclipping necessary.

10:21: Smart collections: Categorizes things like media types (audio, stills), how many people are in shots and how those shots are framed. Smart collections looks very iMovie-ish.

10:23: Clip connections. Primary audio and video are locked synced together. There’s no way to accidentally knock it out of sync. Same types of relationships can be established with secondary audio clips that are maintained through the editing process.

10:24: Magnetic timeline. If you slide a clip down the timeline, long clips (i.e., secondary audio) won’t collide with other clips. The other clips will drop down to a new drag and nothing is pushed out of sync.

10:27: Compound clips. You can combine multiple clips into a single clip to make sequence easier to understand. Everything that is associated with compound clips is still accessible, but moves together with later edits.

10:30: Inline precision editor. You can double-click on the seam b/w 2 clips and the timeline opens up to show what’s outside the handles.

10:32: Auditioning. How to compare edits and effects… During the organization process, you can throw effects or b-roll into timeline. Non-destructive….

10:33: Randy Ubillos, Chief Architect, Video Applications on stage. Demo FCP X live now. Beta version. “We hope it behaves.”

10:35: Audi R8 commercial spot cut on FCP X…

10:36: Demo’ing it live now. Showing off the keywording ability of the sections of the clip instead of the whole clip.

10:37: Offers filmstrip view for content. Looks just like iMovie’s functionality.

10:38: You can highlight sections of content in the filmstrip view and add keywords that way. The keywords show up as items in event library. Selecting those keyword items brings up just those sections of content. Looks like subclips, but it’s not.

10:41: Auto-syncing audio waveforms. Like a built-in PluralEyes. Holy crop. Big applause.

10:42: Playhead scrubs to audio-sample level for aligning audio in between frames.

10:45: Pitch-corrected audio skimming is slick. Makes audio scrubbing very smooth.

10:47: Fade heads are built-in to audio wave forms. Sick. No more keyframes. You can range select to do audio level adjustments in the middle of the clip. No more keyframes. Right click lets you see type of fade to audio head and tail. Again, no more keyframes.

10:50: Retiming clips is built-in and simple. Once you’ve retimed, you can adjust parts of the clip and make adjustments to ramp up/down the time.

10:53: Color matching just got a huge round of applause and wows. Click and clip and pick one to color match it to. Click and it’s done instantlys.

10:54: Mix and match footage. No more transcoding before imput. It just takes care of it.

11:18: Sorry guys. Wasn’t expecting that big of a hit tonight. You guys apparently crushed my dedicated server so hard that my tech support was in tears. Kidding . . . mostly.

Ok. The final big scoop is that FPC X will be available in June 2011 for download from the App store for $299.

Pics coming soon.

 

[Scott Anderson]

I think what Apple decided to show off tonight is just the tip of the iceberg. Background rendering. No transcoding. Primary AND secondary color correction. All realtime, all the time. Sample level audio.

Despite the glossy, iMovie rework of the interface, i think FCPX is going to be a pro tool. The timing and location of the announcement is significant. The last 2 days of NAB, everybody's going to be talking Apple.

I don't doubt that FCPX will support all flavors of R3D's, native, including 5K Epic. Maybe 4K is a software-only limit, for now. Red Rocket for hardware playback. Or AJA or Blackmagic hardware.

I'll bet that we'll hear more and more about the (former) functions of Color, Soundtrack, Motion, Compressor and DVDSP rolled into this new beast as we approach the June release date.

Chill out. Wait for it. I think Apple just took back the NLE market big time.

 

[Darrell Moore]

A New Product

A New Product

I think the suite is over. This is not an upgrade to FCP 7, its a new product: FCP X 1.0 From what they claimed about the audio sweetening and real-time color correction built in, I don't think we will see a Soundtrack Pro X or a Color X. There will probably be a Motion X, but probably several months behind Final Cut. Don't look for them to even admit that DVD Studio ever existed. They may release a new Compressor, but it sounds like all the background rendering they've built in lessens the need for a separate output generator.

 

[Kevin Wild]

Good thoughts, Scott. I think you're right on target.

 

[shashbugu]

I think what Apple decided to show off tonight is just the tip of the iceberg. Background rendering. No transcoding. Primary AND secondary color correction. All realtime, all the time. Sample level audio.

Despite the glossy, iMovie rework of the interface, i think FCPX is going to be a pro tool. The timing and location of the announcement is significant. The last 2 days of NAB, everybody's going to be talking Apple.

I don't doubt that FCPX will support all flavors of R3D's, native, including 5K Epic. Maybe 4K is a software-only limit, for now. Red Rocket for hardware playback. Or AJA or Blackmagic hardware.

I'll bet that we'll hear more and more about the (former) functions of Color, Soundtrack, Motion, Compressor and DVDSP rolled into this new beast as we approach the June release date.

Chill out. Wait for it. I think Apple just took back the NLE market big time.

Bingo Scott. If only they allow you to switch between interfaces. everything else is beyond impressive.