Final Cut Pro 10 “Now I am excited’

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Bon alors voilà il manque environ 3 min entre les 2 séquences j’en suis sincèrement désolé.
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Musique du générique : Joe Satriani “The Mystical Potato Head Groove Thing”

Thank you Emmanuel for giving me back my faith in Final Cut Pro…this looks exciting.

For all your video production needs in Scotland, get in touch with Small Video Productions

A word from Larry Jordan on FCP-10

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Larry Jordan is the one man on this planet that you can depend upon to have a sensible discussion about the new FCP-10.


“Apple this evening provided a “sneak peek” at the next version of Final Cut Pro – now called “Final Cut Pro X” at the NAB SuperMeet in Las Vegas, Nevada.

The new Final Cut Pro is a bold move – a totally redesigned interface, 64-bit memory addressing, multi-processor support, tight integration of metadata in the project file with metadata stored in the clip not just in the project, heavy use of automation to simplify tedious tasks, and a rethinking of the entire concept of what it means to edit.

I can’t think of any other company that could so totally redefine what a non-linear video editor is than Apple. Since the release of Final Cut Pro 1, each version of FCP has contained incremental improvements. This is a complete restatement at every possible level.

As Phil Schiller, senior VP for world-wide marketing for Apple told me after the presentation, “This is a total rethinking of how we tell stories visually.”

Love it or hate it, our editing life won’t be the same again.

Oh, and did I mention — it has a ship date of June, with a suggested retail price of $299, and will be sold through the Mac App STORE (more on that in a bit).


After the presentation, I went down front to talk with the folks from Apple about what I saw. And I asked Richard directly: “Explain to me why this isn’t a big version of iMovie?”

Richard replied: “We designed this to have professional features for the professional user. The reason we chose to present it here at the Supermeet was that we wanted the professional user to see it and understand what we are doing.”

What viewers in the audience did NOT see was who from Apple was attending the presentation that did not appear on stage.

Somehow, I managed to sit in the Apple executive section of the hall. In front of me was Phil Schiller, Senior VP for Worldwide Marketing. The head of PR was sitting to his right. The two lead engineering directors, or VPs, were sitting on either side of me. I was surrounded by top-level executives from engineering, PR, marketing, product management — literally a dozen extremely senior executives were sitting in the front two rows.

Apple would not send this level of executive talent simply to watch the roll-out of a product that they did not care about.

SIDE NOTE: I was sandwiched between two senior engineering executives who had as much fun as anyone in the audience watching the demo and applauding. I suspect it was because they were finally seeing the public result of years of behind-the-scenes work.

Another interesting data point. This presentation was almost exactly the same one that I saw six weeks ago in Cupertino. Apple used it then to get feedback from a small group; I suspect they are using this exact presentation tonight for the same reason — to get reactions from a much larger group.


Based on tonight’s presentation several long-standing irritants with Final Cut Pro disappear:

* Rendering is now in the background and much faster because it harnesses the power of the GPU.
* The 4 GB memory limit is gone – FCP will use as much RAM as you have installed on your system.
* FCP X now uses all the processors on your system, not just one and a half.

In addition, a flock of new features were added:
* It supports editing video image sizes from standard definition up to 4K.
* It uses fewer tools from the Tool palette (which is no longer there, by the way) by making the cursor smarter. WHERE you click something determines WHAT you can do with it.
* A lot of existing features are jazzed up (linking and grouping are replaced by the much more elegant Clip Connection and Compound Clips)
* While new features like the magnetic timeline, permanent audio sync and auto-metadata generation are flat-out stunning.

NOTE: Nothing said, or implied tonight, indicated that you would need any special hardware. My guess is that any Mac you buy now will run FCP perfectly. Also, contrary to some rumors, I spoke with Apple engineering about Thunderbolt. This is a system level I/O connection. If your Mac has it, ANY version of FCP – or any other Mac application – will take advantage of it.


While the slide show was identical to the February meeting, the demo was not. Randy Ubillos, who did the demo, added more features and additional explanations on effects (see the screen shot above). However, I was told later that the build that was demoed was the same build that was shown in February – and that the application has moved significantly forward since that time.

In other words, what we saw tonight was nowhere near the final form of the application.

I was also very impressed that audio was not treated as an unwelcome step-child. First, the demo paid a lot of attention to setting and maintaining audio sync, however lots of little details were also obvious:

* Sample rate precision in scrolling an audio clip
* Pitch corrected audio scrolling in slow motion
* Displaying waveforms at a size big enough to see what they look like
* Displaying audio levels within the waveform that are approaching clipping (as one engineer near me remarked, “And THAT took us a LONG while to figure out.”)
* Displaying audio peaks for the entire mix that are approaching clipping
* Improved audio cleanup controls, which can be applied or ignored by the user (these look to be borrowed from Soundtrack Pro)
* Adding fades with a keystroke, or by pulling in the top corners of a clip, with four different fade shapes, rather than the limit of two inside FCP 7; these, too, borrow interface ideas from Soundtrack Pro.


In brief, the crowd was loving it. Granted, many of them got well-lubricated at the open bar before the event, but nonetheless, everyone seemed to have a good time.

The new interface drew applause, 64-bit support and background rendering had people drooling and the new price of $299 received a standing ovation.


I’ve been thinking hard about this since I first saw the software six weeks ago.

And, truthfully, I’m very torn. There are some features here that I really like a LOT. There are a few that I don’t like at all. But there is a great deal that has not yet been said.

And that, I think, is the key point. The devil is ALWAYS in the details.

Apple has done its usual magnificent job of previewing a new product. But this is only the preview.

I met Randy Ubillos, Chief Architect for Video Applications at Apple, after he presented the demo of the software. I told him that parts of what I saw I liked a lot and parts had me quite concerned. And I asked if Apple was interested in our feedback. He immediately said that Apple is VERY interested in our feedback, that they are listening and want to make this application something that all of us can be proud of using.

I believe him. And I also believe that it is way too early to make any final decisions about this version. There are too many unanswered questions. For example, here are some questions the answers to which are still unknown:

* The retail price for FCP is $299 – but what is the retail price of the other software parts of the Suite? Are we back to ala carte pricing?

* The application will be sold through the Mac App store. What happens to all the great data files that were available with the suite in earlier versions?

* How does FCP X work with existing FCP 7 projects?

* What other applications ship with Final Cut and how do they integrate?

* How many of our existing plug-ins, peripherals, hardware, and other gear need to be updated to work with the new software?

* Editing does not exist in a vacuum, how do we share files, clips, metadata, and project information with other software tools?

* How does it handle media?

* Real-time, native video processing is great for editing – however, we still need to transcode to get files on the web. How?

As of tonight, Apple hasn’t provided answers to these, or many other questions. As they do, or as I’m able to find them out, I’ll share them with you in this blog and my newsletter.

As one engineer told me at the Cupertino meeting in February, Final Cut Pro is still a work in progress. We’ve seen the outline of the work – the rough cut, if you will. Now we need to give the engineers time to listen to our feedback, polish it up, and deliver the final cut of Final Cut.

My thanks as always to Larry Jordan the GURU of Final Cut Pro

For all your video production needs in Scotland, get in touch with Small Video Productions

Final Cut Pro-10 (X) “Jaw Dropping…not yet”

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I was far too tired at 3.40am this morning to make the connection but looking at the NEW GUI on FCP-10 it’s a go faster version of iMovie for iPad 2 with similar features. OK so it’s only $300 and it has support for automatic image stabilisation on import, audio clean-up, non-destructive color balance, shot detection and face detection (iMovie). For the DSLR boys it also includes a rolling shutter fix and the much needed background rendering.

Lets also remember this will probably need “Lion” to work with now here is a major dilemma…I you are like me you are running FCP-7 on Snow Leopard, going from past experience nothing will work properly if you install Lion or at least for 6-8 weeks, also, whats the point of installing FCP-10 as a stand alone programme when you do not have the STUDIO to be able to do anything with your footage…this is very badly thought out by Apple !

Remembering we always got a STUDIO for our money, so where is the updated 64bit…MOTION, DVD STUDIO PRO and COMPRESSOR , Soundtrack and Color are included with FCP-10.

From what I hear from the SuperMeet floor there was no mention of anything else but FCP-X and while we are here what the hell are Apple playing at calling it FCP-X is X the Roman numeral for 10…UPDATE : Seemingly one of the Apple presenters called it FCP-10 so what happened to 8 and 9 ?

In the cold light of day my first feelings are rather cold towards the new GUI as it is very domestic looking but maybe when I see it in action I will change my mind, does it have a scrolling timeline as seen on the iPad2 ?

The iPad 2 iMovie version only edits what you film from the iPad 2 inbuilt camera which is a shame, I hope Apple open up this APP to allow AVCHD footage. I find the editing part quite fiddly and is very much like the GUI on the new FCP-10

I might have been more convinced by this new updated 64bit FCP-10 if Apple had even mentioned, Motion and DVD Studio but saying nothing convinces me that Apple have a second agenda especially with DVD Studio Pro which they don’t want to share with us at the moment. Apple have a large thorn in their side over the use of Blu-ray and I think that thorn has just got a lot bigger.

Here is a list of the new JAW DROPPING features in FCP-10

  • The name is Final Cut Pro X (10)
  • 64 bit
  • Unlimited menory
  • Uses Open CLI and Grand Central Dispatch
  • Color fully managed with ColorSync
  • Resolution independent playback system up to 4K
  • Mix & match all content in timeline without transcoding
  • No rendering, it does it in the background using every available CPU cycle
  • Can plug into cameras and edit whilst ingesting
  • Non destructive color balance on ingest
  • Stabilisation on ingest
  • Audio cleanup on ingest
  • People and shot detection
  • Range based keywording – metadata attached to part of a clip
  • Smart collections – like smart folders
  • Clip connections, primary and secondary media locking together
  • Magnetic timeline -moves audio out of the way to avoid collisions.
  • Single keystroke nesting
  • Compound clips – collapse clips into a single clip
  • Inline precision editor – simplifies trimming of clips
  • Auditioning – sampling of different versions of edits
  • ‘Skimming’ media previews when you move the cursor over
  • iMovie like filmstrip view
  • Timeline Index- an index of all the clips in the timeline
  • Sync clips with Plural Eyes style featue (Not Plural Eyes)
  • Automatic control of number of tracks – add and go when needed
  • Pitch corrected audio skimming
  • Waveforms show levels in realtime
  • Retiming in the timeline
  • One click to match color between clips
  • New advanced color correction
  • Improved keyframing, bezier paths and curve display in the timeline
  • Color & Soundtrack now in FCP 10
  • Ships in June $299 on the App Store


For all your video production needs in Scotland, get in touch with Small Video Productions

Apple Final Cut Pro-X “Official announcement as SuperMeet 2011”

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It’s now 3.28am in the small hours of Wednesday morning and yes it’s official we have a new 64bit Final Cut Pro-X with a nice new updated GUI, I am watching TweetDeck go mad and people like


I must thank Rob Imbs who has been constantly Tweeting and keeping us all updated, I am very excited but am getting tired it’s now 3.36am and I need my bed, I will keep you all updated in the morning.

For all your video production needs in Scotland, get in touch with Small Video Productions

SuperMeet 2011 2.40am GMT

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Live picture from SuperMeet, looks like we are no further forward with any Apple FCP-8 news…will keep you updated.

For all your video production needs in Scotland, get in touch with Small Video Productions

BBC Approved HD camera list 2011

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Studio Cameras

• Sony HDC1500 • Sony HDC1550 • Sony HDC1400 • Sony HDC1450 • Sony HSC300 • Sony HXC100 • Grass Valley LDK8000 Elite Worldcam • Grass Valley LDK8000 Elite Standard • Grass Valley LDK4000 Elite 1080i

HD Handheld

• Canon XF305 • Canon XF300 • Sony PMW-EX1R – with external recorder using a bitrate of 50Mbps or above • Sony PMW-EX3 – with external recorder using a bitrate of 50Mbps or above

HD Shoulder Mount

• Panasonic HDX900 • Panasonic HPX371 • Panasonic HPX3000 • Panasonic HPX3100 • Panasonic HPX3700 • Sony PMW320 – with an external recorder using a bitrate of 50Mbps or above • Sony PMW350 – with an external recorder using a bitrate of 50Mbps or above • Sony PMW500

• Sony HDW F900R & 900 • Sony HDW 790, 750 & 730

HD Specialist

• Panasonic HPX2700 HDC27F & H • Panasonic AF101 – with an external recorder using a bitrate of 50Mbps or above • Sony CineAlta F35 • Sony SRW 9000 • Sony PMW F3 – with an external recorder using a bitrate of 50Mbps or above • Arri D21 • Arri Alexa • Panavision Genesis • Thompson Viper • Red

Mini Cameras

• Iconix HD-RH1 • Panasonic HCK10/HMR10 • Toshiba IK-HR1S • Toshiba IK-HD1

Cameras should be chosen in consultation with the DoP and post production facility Updated 08 April 2011 by Executive Producer of BBC HD: Ian Potts

My thanks to Nick Williams for spotting this.


For all your video production needs in Scotland, get in touch with Small Video Productions

While we wait for FCP-8

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7pm till 10pm (UK) Me and the dog have a cat nap as recommended by the HEADMASTER…

11pm Stole an hour talking on Skype to my fellow producer Ali who is in Spain having a well earned rest…

12pm Back to Final Cut Pro 7 to edit an update to my AF101 DVD…

12.30 Walked into my son’s bedroom and he was starting to watch the latest Harry Potter film so I joined him…

For all your video production needs in Scotland, get in touch with Small Video Productions

HyperDeck Shuttle $345…WOW product at a WOW price !

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Dramatically improve the quality of professional or consumer cameras! HyperDeck Shuttle gives you the quality of uncompressed recording direct to common low cost SSDs in the smallest possible size! HyperDeck Shuttle is small, affordable and battery powered so it’s perfect as a field recorder. HyperDeck Shuttle bypasses your camera’s compression and records from SDI and HDMI direct into the highest quality uncompressed video. SSDs are cheap and fast, so you can edit directly from the SSD media itself. Only SSDs eliminate time wasting file copying! Only $345.

Compression destroys image quality and even high-end cameras compress images. Now you will never compromise quality because you can bypass the camera compression to get perfect uncompressed 10-bit SD/HD video. That’s even higher quality than broadcast decks! Create the sharpest VFX plates for match moving, compositing and more. Get deep dynamic color range for color correction and do perfect, clean keying without jagged edges caused by compression. Even on shots like flyaway hair and multi-colored patterns. Now quality won’t limit your creativity!

Simply plug in a 2.5” solid state disk into HyperDeck Shuttle and you get video recording with blazing fast speed, low power consumption and totally silent operation. Now you can eliminate complicated and expensive disk arrays. A single SSD can record uncompressed video effortlessly! Removable media like CF and SxS cards simply cannot match that kind of performance and require slow file copying to use.

With SDI and HDMI inputs and outputs, HyperDeck Shuttle works with virtually every camera, deck or monitor! Effortlessly plug into monitors or televisions for instant on set preview. Use HyperDeck Shuttle as the video playback source for digital signage systems or switchers. Imagine using HyperDeck Shuttle connected to a live production switcher for recording events, and then using it for live playback! HyperDeck Shuttle can do almost anything and it’s so small you’ll take it everywhere!

For all your video production needs in Scotland, get in touch with Small Video Productions

Today starts a new era in non linear editing…FCP-8

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It will be the last because from tonight when the ‘new’ FCP is demoed at the SuperMeet, FCP7 will named the ‘old’ Final Cut Pro. Tonight will be a watershed…

We have waited for this day ever since Larry Jordan’s jaw dropped, actually if that is the type of reaction the ‘new’ FCP triggers then I’d gaffer tape yours up because tonight will be special.

Let’s forget the rights and wrongs of how the SuperMeet changed and concentrate on possibly Final Cut Pro’s biggest day since its release.

We are not here to give you a laundry list of the new features expected in FCP8, FCPx, Final Cut Extreme or whatever it may be called. (Actually we are hoping they keep it Final Cut Pro because of a few large letters at the top left of this website). What we are trying to say though is that tonight will be the FCP world divided into two parts.

Think about it, if FCP changes that much then a lot will have to change too. There is a big FCP ecosystem out there.

All hardware will have to be checked to see if it works with the new FCP. Interesting if Log & Transfer survives.

All plugins will have to be checked and possibly completely re-written. Apple might also have had a session of ‘low fruit gathering’ and built in many popular plugins like color correction or complex transitions. Higher cost telecine style grading software is right in the firing line.

Will FxScript be supported? Many great plugins are written in FxScript, Nattress Film Effects being one.

Will the new FCP support 3D with ease? If so then it is the end of expensive third party solutions/codecs. You can’t beat free.

All third party standalone software (like XML programs) will have to be checked & modified.

What about the little things like coloured keyboards, iPhone apps, special codecs etc?

All existing printed training manuals will soon be worthless. However I bet the likes of Steve Martin, Mark Spencer and Diana Weynand are hard at work writing new ones.

All online tutorials will soon be worthless. This has been very noticeable recently by shed loads of old tutorials being dumped on YouTube. As before I expect a variety of ‘new’ FCP tutorials to appear on YouTube/Vimeo the day you can actually buy or download the program.

What about training? Will everybody have to get re-certified? Will the trainers have to get re-certified before anybody gets re-certified? Will Apple move towards an online system of resources, training and certification? Could the training be built into the app like Garage Band? “Let Walter Murch show you how to trash your preferences.”

All the above is complete speculation, what we do know though is the fact that each of us has a lot of learning to do this year. I’m going to enjoy every minute of it.

Half inched from



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Matrox now supports Thunderbolt

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NAB 2011 – Las Vegas – April 11, 2011 — Matrox® Video Products Group today announced Matrox MXO2 devices featuring the all-new Thunderbolt™ technology developed by Intel® and brought to market with collaboration from Apple. Thunderbolt technology is a high-speed I/O technology running at 10 gigabits per second that brings together high-speed data transfer and high-definition (HD) display on to a single cable. It is currently available on the Apple MacBook Pro line. The Matrox MXO2 devices provide broadcast-quality video and audio capture, monitoring, output, and H.264 encoding for use with leading editing and content creation applications.

“Our original vision for the Matrox MXO2 product line was to bring audio/video connectivity and encoding functionality outside the computer to provide video professionals with portable, future-proof solutions,” said Alberto Cieri, senior director of sales and marketing at Matrox. “Thunderbolt technology builds on that vision, giving our customers the ability to take advantage of the latest and greatest connectivity technology with our MXO2 products.”

A live demonstration of the Matrox MXO2 devices featuring Thunderbolt technology running with Final Cut Pro on the new 15-inch MacBook Pro will be featured at NAB 2011 in booth SL2515.

Key Features of Matrox MXO2 Family
Convenient form factors for use in studio, on set, in the field, and in OB vans
Works with laptops and desktop systems
Connects via PCIe, ExpressCard/34, or Thunderbolt technology
Broadcast-quality HD/SD video and audio input/output
Extensive application support including Adobe CS 5.5 Production Premium, Apple Final Cut Studio, and Avid Media Composer
10-bit HDMI input, output, and monitoring with the unique Matrox HDMI Calibration Utility
10-bit realtime hardware up/down/cross conversion on capture and output
Matrox MAX option for lightning fast H.264 encoding
Price and availability
The full range of Thunderbolt technology enabled Matrox MXO2 devices will be available from authorized dealers worldwide in July 2011 at prices starting from $649 US (£460, €530), not including local taxes. Matrox Thunderbolt adapters for all MXO2 devices can be purchased as an add-on at $299 US (£199, €249).

For all your video production needs in Scotland, get in touch with Small Video Productions

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