Thursday, September 01, 2011

Coke Classic: Final Cut Studio is Back

Chris Meyer | 09/01- 07:42 PM

You can still buy seats of the pre-X version - but what does that get you?

As has been reported and confirmed by multiple sources, you can once again buy Final Cut Studio. You won’t find it (yet?) in the physical or online Apple stores; you have to call 1-800-MY-APPLE, ask for part number MB642Z/A, and pay $999 ($899 educational).

Great. So?

When FCP-X came out, some tried to placate the naysayers by reminding them that the new version wasn’t compulsory; they could just continue to use the previous version - it’s not like their licenses had been taken away. The reply was yeah, but we’ll eventually need updates and support as hardware and the OS change - why continue to invest effort into a dead product? And unless Apple is about the announce the biggest mea culpa since Avid said they were abandoning the Mac (or Coke quietly took New Coke off the shelves), that part hasn’t changed, regardless of whether you can buy additional copies or not. With Apple’s professional video division focused on the numerous fixes enhancements that have been requested and promised for FCP-X, I just don’t see them launching a parallel development effort to update FCS as well. (Let me know if you’ve seen job postings for Apple that indicates otherwise.)

What this move probably reflects was that some large customers weren’t going to switch to FCP-X just yet, and in the meantime needed additional licensed copies. And more importantly, it shows that Apple listened, and reacted.

And that’s something.

 

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Wednesday, August 10, 2011

FCPX, Is It Prosumer Or Not?

Terence Curren | 08/10- 09:56 PM

Some people get really testy when you suggest it’s iMovie Pro…

In this episode of “The Terence & Philip Show” Philip & I consider the concepts of editing introduced with Final Cut Pro X, and who it might be made for. Is it designed for “pros” or dilettantes? One thing is for sure, Philip doesn’t like me using the word “Prosumer”!
Click below to join the heated conversation…

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Friday, July 29, 2011

Have you got phonetic search tool Get for FCP? Good, cause it’s gone

Scott Simmons | 07/29- 01:44 PM

Apparently the software has been discontinued ... for some reason or another.

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Remember the super cool phonetic searching tool for Final Cut Pro Get? This was an amazing software tool made to complement FCP that could phonetically search your media and return search results to FCP. It was powered by technology from Nexidia that made it all possible. Hopefully you have a copy if you need it because it seems that Get for Final Cut Pro is no more.

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Friday, July 29, 2011

FCP X ! The Response A Month Later

Terence Curren | 07/29- 09:48 AM

Did Apple handle the launch well, or was it a huge fail?

In this latest episode of The Terence and Philip Show, we discuss how the postproduction landscape has changed a month after Final Cut Pro X was revealed.
How has the competition responded and how the Final Cut Pro community has reacted?
Lots of discussion on the launch and subsequent response to Final Cut Pro X, touching on every aspect of the release.

Why is there an emotional connection with creatives and their tools.
Where do Final Cut Pro 7 users go?
Who is really focused on NLEs in professional postproduction?

Click play below and join us for this in-depth discussion.

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Tuesday, July 05, 2011

Is This The New Model of Financing Your Project?

Terence Curren | 07/05- 09:44 PM

Financing is scarce. The world is changing. How do you navigate the new waters?

Sponsored movies of the 70′s and 80′s were the precursor to Branded Entertainment, and it’s a major way of getting funded today.
But is it the future? 
Philip and I discuss examples and why it might be more successful in the new paradigm of commoditized content creation.
Click on the link below and join the conversation on the latest episode of The Terence & Philip Show.

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Wednesday, May 18, 2011

Internships in Post, Good Idea or Bad?

Terence Curren | 05/18- 12:46 PM

Do they help you enter the entertainment field, or are they just an excuse for free labor?

In episode 27 of “The Terence & Philip Show” Philip and I are joined by former intern and current Alpha Dogs’ employee Isai Espinoza in a discussion about the value of Internships to both the employer and the intern.
How to get the best out of an internship, and what’s in it for the employer are the main subjects.
In typical fashion, this quickly leads to a discussion about breaking into the business, and what it takes to make it.

Click below to join our latest conversation.

more »

Friday, May 13, 2011

NAB 2011: Teradek Revolutionizes Live Broadcast

Clint Milby | 05/13- 01:35 PM

Landmark Broadcast at NAB Proves the Power of the Cube

We had a chance to visit with Rod Clark of Teradek who talked about the evolution of their products.

more »

Wednesday, April 13, 2011

A Modest Proposal Regarding Editing Software

Bruce A Johnson | 04/13- 02:07 PM

...with apologies to Jonathan Swift

imageimageimage

In the beginning, there was Avid…and it was OK. 

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Compositing in FCP X

Mark Spencer | 05/23- 05:03 AM

On this week’s MacBreak Studio

On this week’s MacBreak Studio, I show Steve Martin from Ripple Training a few things I’ve discovered in my exploration of the compositing features in Final Cut Pro X.

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David Atkins Enterprises and Digital Pulse use Adobe software for record-setting arena projection

Todd_Kopriva | 05/22- 12:31 PM

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In December 2011, the 12th quadrennial Arab Games took place in Doha, Qatar at Khalifa International Stadium. As part of the planning process for the Doha games, the world-renowned event production agency, David Atkins Enterprises (DAE), was commissioned to conceive and produce the opening and closing ceremonies. Following this commission, DAE contracted Australian digital design and video production specialists, Digital Pulse, to produce the animated visuals for the opening ceremony including the athletes’ parade and cultural segments. Far from a conventional production canvas, the animated visuals that the Digital Pulse team were to produce for the event would have to play seamlessly across the stadium’s two different playback systems: a contiguous LED system installed behind all stadium seats and an 86-projector projection system that covered a world record 12,600 cubic metres of on-field projection space.

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