Final Cut 8 or iCut Pro?

The secret is out and some have seen it. What to expect from the next version of Final Cut Pro

By Terence Curren | March 05, 2011

Philip Hodgett's and I discuss the new, yet to be released Final Cut Pro. Philip also explains what is replacing Quicktime in the new Mac universe. Join us on episode 21 of the Terence & Philip show. Read More


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Quicktips 2011 Day 30 follow-up for the Day 27 Speed up FCP’s XDCAM export

Further tests from this Reader Quicktip shows there might be more to this than originally posted.

By Scott Simmons | March 02, 2011

This original Reader Quicktip about speeding up the FCP XDCAM export that came to us from James Stuckey Weber really showed he was having some very dramatic speed increases just by closing the FCP Canvas and Timeline. It seems after a bit more of James testing and discussing this with some fellow editors there's a bit more to tell. It's more about collapsing multiclips that closing the windows. Read on for James' new testing numbers. Read More


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Quicktips 2011 Day 27: Speed up FCP’s XDCAMexport

February 27, 2011 - Conforming XDCAM can take a while but this tips speeds it up

By Scott Simmons | February 27, 2011

This Reader Quicktip comes to us from James Stuckey Weber and it's a tip to speed up the exporting process of the XDCAM format in Final Cut Pro. I don't do a lot of XDCAM export from FCP so I can't confirm the rather dramatic speed-up this tip claims but I can't deny it either. When the XDCAM export does present itself next time I'll be trying it out. Read More



Thunderbolt in MacBook Pro: a new era for demanding video editors who prefer laptops

Sound the trumpets! The 2-year mourning period that began in 2009 can finally end!

By Allan Tépper | February 27, 2011

As we have amply covered in multiple articles in ProVideo Coalition magazine, demanding online editing of multiple realtime HD video layers requires a high bandwidth connection to an external disk array, especially in the tapeless acquisition era, when it is even more desirable to use RAID5 (or equivalent). In many cases, it is also extremely desirable to have a high bandwidth connection to advanced video i/o devices from companies like AJA, Blackmagic, and Matrox. Since Apple laptops have never offered direct eSATA ports -and some professional i/o interfaces connect via the ExpressCard/34 port, demanding editors were able to connect one or the other (but not both simultaneously) in sub-17" MacBook Pros until June 2009, when Apple nixed the ExpressCard/34 slot on 15" models. Now that Apple offers a Thunderbolt port on all MacBook Pros (13", 15", and 17"), we'll soon be able to have both of our wishes simultaneously: high bandwidth for external storage, and high bandwidth for advanced video i/o interfaces. Thunderbolt in a laptop indeed represents a quantum leap for serious video postproduction. (See also my upcoming related article regarding Thunderbolt in live video production.)In this article:The virtues and limitations of ExpressCard/34Thunderbolt says: "Here I come to save the day!"Is the King of DAS dead? Has Thunderbolt dethroned eSATA?10Gb/s, not 10GB/s! Read More


The existence of a new FCP is confirmed. The world rejoices.

Add in Thunderbolt and Lion and it's been a promising day for the Mac professional.

By Scott Simmons | February 24, 2011

Thunderbolt in action with the old Final Cut Pro

By now everyone who's ever edited a frame of video and has a web connection knows that Apple recently held an small, secret, invitation-only meeting at their headquarters in Cupertino where they previewed the next version of Final Cut Pro. This was an extremely unusual move as Apple rarely ever demos any of their products before they ship. The only real word that has come across from this meeting was a blurb on TechCrunch and a blog post from Larry Jordan. I think it's safe to say that those who were in attendance probably aren't overly critical of FCP and it's current shortcomings. But it's also safe to say that this bodes well for all of us using a Macintosh in post-production. Read More


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Quicktips 2011 Day 24: Access FCP’s timeline keyframe editor

February 24, 2011 - You can animate and keyframe filters and motion parameters right in the FCP timeline

By Scott Simmons | February 24, 2011

Everyone who edits with Final Cut Pro knows that you have full access to animating and keyframing parameters via the Viewer. Double-click a clip in the timeline and it loads in the Viewer. There you can keyframe parameters in the Motion tab or parameters of any filter that might be applied. But you can also do this in the timeline as well. Read More


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Quicktips 2011 Day 23: moving all keyframes on a shot in FCP

February 23, 2011 - If you've keyframed a shot in FCP you can move all the keyframes at once in the FCP timeline

By Scott Simmons | February 23, 2011

This reader Quicktip comes over from Steve Sabban and it's a follow-up to Quicktip number 7: changing FCP filters lengths partially applied to a clip. I thought that was a particularly handy tip but it didn't go into any real timeline manipulation of keyframes. This tip does. Read More


Tribute to Michael Kahn, A.C.E.

The legendary editor received a Lifetime Achievement Award last Saturday night

By Scott Simmons | February 22, 2011

Tribute to Michael Kahn, A.C.E. from Carsten Kurpanek on Vimeo.

If you haven't heard, the American Cinema Editors held their 2011 Eddie Awards last Saturday night, February 19. Along with the list of winners was the Lifetime Achievement Award handed out to Michael Kahn. Often you'll heard him credited as Steven Speilberg's longtime editor and while he has edited a lot of films for Spielberg he has also cut a lot of other legendary films as well. Just check out his IMDB profile. Read More


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Which ProRes quality level is Good Enough when editing DSLR footage?

My experience using ProRes LT for Canon DSLR production

By Matthew Jeppsen | February 22, 2011

So I wanted to share some personal findings after working heavily with DSLRs for about a year and a half now. I've been converting most of my DSLR footage to ProRes LT for post-production, and have found it to be a good size-to-quality happy medium. In most cases, my projects will end up on DVD, web, or some kind of Standard Definition delivery, so LT allows me to strike a quality compromise that tends to be invisible after output. Even for HD applications, I think you'd be hard-pressed to find visible quality issues when editing with ProRes LT, assuming that you aren't pushing the image too much in color-correction and grading. And let's be honest, you probably shouldn't be heavily grading DSLR footage anyway...for as much as I love DSLRs, the footage doesn't like to be pushed hard. Read on... Read More


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Quicktips 2011 Day 21: Change multiple FCP audio clip levels at once

February 21, 2011 - This Reader Quicktip is an option for changing levels and parameters for multiple FCP audio clips

By Scott Simmons | February 21, 2011

This Reader Quicktip comes from Matt Larson and is sort of a workaround for Final Cut Pro lack of ability to change source audio parameters of multiple clips at once. It's the kind of thing that can come in very handy when you have a very full bin of clips and changing them one at a time isn't an option. Read More


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Quicktips 2011 Day 20: One of the most simple, handy Quicktips ever

February 20, 2011 - This Quicktip is so simple, yet so brilliant and can be utilized by most anyone

By Scott Simmons | February 20, 2011

This Quicktip is a bit off the topic of editing and post-production but it's a simple tip for Sunday and it can probably be utilized by most any editor who has a desk and has a lot of wires snaking up and around the desk. Credit for finding this one goes to Shane Ross of Little Frog in Hi-Def. He actually found it on Digg and his Twitter comment said it all: Why the hell didn't I think of this? Read More


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Quicktips 2011 Day 18: Two FCP tips for today’s Quicktip

February 18, 2011 - There's 2 Reader Quicktips here, timeline preferences and preferred effects

By Scott Simmons | February 18, 2011

Today's a Reader Quicktip that is actually two tips from Final Cut Pro and After Effects trainer Clay Asbury. One tips is how he likes to setup his default FCP timeline settings and one is about using FCP's Effect Availability option. Read More


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Quicktips 2011 Day 17: Using extended markers to create subsclips

February 17, 2011 - This Reader Quicktip explores FCP's extended markers and making subclips from them

By Scott Simmons | February 17, 2011

This Reader Quicktip comes from Final Cut Coach. It involves using the markers and the extend marker option in Final Cut Pro. Plus there's discussion of using markers to makes subclips. Final Cut Coach also has its own site that looks to be a growing Final Cut Pro tutorial site. Read More


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Analyzing what you see in a film frame

Eye-tracking study provides data on where viewers look when watching a film

By Matthew Jeppsen | February 17, 2011

This new study by David Bordwell provides fascinating data on where viewers look when watching a film. Researchers used infrared pupil tracking to correlate attention to what was happening in the film, and their findings will surely be of interest to DoPs, Directors, and Editors alike... Read More


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HPA Tech Retreat 2011 Day 1

HPA Super Session 2011 -- Snowflake Workflows

By Adam Wilt | February 16, 2011

HPA set the stage for the Super Session with these words:"With all the options in workflow today, it seems no two projects are exactly alike. Just like snowflakes, our projects begin beautiful, shiny, and a unique wonder to behold. But as they slowly drift to their final destination, they seem to just turn into slush, as we leave them behind searching for our next wonderful, pristine, new way." Read More


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Quicktips 2011 Day 15: Create audio synced subclips from overcranked footage

February 15, 2011 - This Reader Quicktip might be especially helpful for the music video people

By Scott Simmons | February 15, 2011

This Reader Quicktip comes from Matthew Gilna in Los Angeles. He's been working on a cool series called The LXD or League of Extraordinary Dancers. This Quicktip is a technique that he's been using quite a lot on this series to create new synced clips when he has to sync video with separate audio. Read More


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In Appreciation Of The Lowly Wipe

A few ideas for how to create more interesting (yet still tastefully understated) transitions between clips.

By Chris and Trish Meyer | February 15, 2011

While editing Michele Yamazaki's upcoming book on After Effects plug-ins, she reminded us of the classic, then-revolutionary video Cry by the English singer/songwriter/music video producer duo of Lol Creme and Kevin Godley. Created prior to the days of morphing software, it pushed the limits of what could be done with soft-edge wipes between carefully aligned shots, dropping more than one jaw as a result. (Yes, today's more sophisticated eyes will pick apart the flaws - but keep in mind this was all done in analog, over 25 years ago.) Read More


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Quicktips 2011 Day 14: Better performance for .motn files in FCP Timeline

February 14, 2011 - This Reader Quicktip is for all those that use Motion projects in FCP

By Scott Simmons | February 14, 2011

This Reader Quicktip is all the way from Lu Nelson in Berlin. If you use Apple Motion a lot and integrate those Motion project files in your Final Cut Pro timeline then read on for what could be a nice realtime trick. Read More


How Would You Build The Entertainment Business From Scratch?

In a democratized green field, how different would a new studio look now?

By Terence Curren | February 12, 2011

Philip & I originally talked about the concept of starting over in production with a green field - no established starting points - in episode 11. In this episode we take it a little deeper as there is a lot of ground to cover.How would a new studio look? What would distribution look like? Would it be a return to the studio system approach of old?These are just a few of the many areas we tackle in this episode of the Terence & Philip show. Read More


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Quicktips 2011 Day 11: Playhead of your timeline to match FCP edit to tape In point

February 11, 2011 - This tip isn't for everyone but if editing to tape it is a very good one

By Scott Simmons | February 11, 2011

There's probably not near as many Final Cut Pro editors that have to perform tape output today versus just a few years ago (using the FCP Edit to Tape window) but for those of us that still do use tape we tend to use it on a pretty regular basis. This Reader Quicktip is from Ben Scott, a London-based editor who apparently has to do a lot of Edit to Tape work. It's quite a deep and involved tip entitled Getting the playhead of your timeline to match the edit to tape window's In point. In fact there's a couple of tips within this one. Read More