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Archive for June, 2011

Apple Final Cut Pro X and the ensuing land grab of Avid and Adobe

June 30, 2011 1 comment

Word….The Apple professional editorial universe has gone bonkers.  The best explanation I’ve heard from a friend/client is the Final Cut Pro change is like Microsoft changing Word and all old files are not compatible or integrate with any of the other Microsoft applications you use with Word.  As an Apple and Avid and Adobe partner, this is as disruptive as it gets.  Editors don’t like radical changes and FinalCut X’s innovations has freaked a lot of people out.

The editorial camps have been carved into three camps: Apple FinalCut (comprised of either younger editors or people who got totally fed up with Avid over the years), Avid users and a much smaller contingent (of people cutting beyond web and weddings) of Adobe CS5+ users.  Overall, Avid and Apple battled.  Apple, in my opinion, won the second tier markets and the tier one markets with the younger editorial crowd.  Heck, even Angus Wall won an emmy for The Social Network cutting on Final Cut.  Yes, Angus made his initial mark cutting music videos on the Avid MediaComposer, back in the day.  FinalCut became the cool product to cut on and for most people contracting editorial services, a lower priced rate.  My opinion is that the younger editors charged less per hour and that was the larger contributor to a lower rate.  Anyway, Apple announced the new X and discontinued FinalCut 7.

X is the future and 7 is yesterday, so move on, upgrade off the app store and move on.  What….you say you need to make EDLs.  They are yesterday or even the last millennium, so what if the studio where you cut trailers requires an EDL to create the matchback.  Studios are yesterday, it’s all about electronic distribution vehicles like Amazon and Itunes, they don’t require EDLs.  Where am I going here…well, a large contingent of FinalCut editorial houses are totally pissed.

My short term opinion is simple, don’t jump off any bridges, this as every change will work itself out.   Apple will either recognize that they should have named FCP X “ImoviePro” or rethink the disruptive product introduction and re-tool their strategy.  I’ve known the key product developers at Apple (even before they were at Apple), they are smart people and understand post production intimately.  If they want to make changes, they already know what needs to be done.  If Apple has defined the next growth market to be Imovie upgrades, well the professional FCP 7 users are SOL.  Round one of FCPX does not look good for legacy workflows, but there are cool new innovations, just not multi user workflows…yet.  That being said, I’m still unclear as to whether MediaComposer 5.5 will work on Lion, but hope to know by end of next week.

Editorial software is now cheaper than plug ins (or close) and having access to more than one workflow and software can help maximize the quality of projects and the productivity of editors.  Download free copies of Avid MediaComposer http://www.avid.com/mctrial  and try out Adobe CS5.5 (couldn’t find if their is a trial).  Minimize your risk and stay educated on options.  With new management, Avid has radically changed their approach towards users and the economics while Adobe will continue to innovate their editorial tools and in my opinion have the best video web solutions on the planet.

Editorial is being driven to commodity status, editors are creative people and creating differentiation is tough while maintaining rates in a tough economy.  The broader the set of deliverables you can provide, the greater your value.  Key Code Media will be having a major event and streaming it to get together top level editors to help sort out all the craziness.  Stay tuned, the trailer is in development and will be the most intense invite we’ve ever put together.  Mark late July for the event of X. Simultaneously in Seattle, Santa Monica, San Francisco and Burbank tied together by LifeSize HD teleconferencing and Newtek’s Tricaster 850 Extreme streaming the event.

That being said, Gary Greenfield and Kirk Arnold are coming to the epicenter of editorial world, Los Angeles,on July 13 to have some type of event and want to spread the word.  Me being the tool that I am, will help communicate this.

http://community.avid.com/blogs/avid/archive/2011/06/30/making-great-products-to-serve-professionals-is-our-lifeblood.aspx

Creative Storage Conference and StorageDNA

June 27, 2011 Leave a comment

The Creative Storage Conference and Exhibition will be on June 29th, is a one day seminar in Culver City hosted by the Entertainment Storage Alliance.
Suman Grandhi, StorageDNA’s Director of Technical Enginerring will be speaking at the 3:45pm presentation with the topic- Content Archiving and Asset Management.

Patrick Howley, Vice President of Sales at Key Code Media, will be attending the day long conference.

Cost to attend the exhibition is free, the conference cost at the door is $450.

http://www.creativestorage.org/
http://www.creativestorage.org/2011Agenda.htmPat Howley will be attending the conference and networking with the paid attendees.

StorageDNA will be exhibiting in Space 10.
Location
6161 West Centinela Avenue, Culver City, California, United States 90230-6306

3:45 PM Session D: Lest we forget what is important: Content Archiving and Asset Management:
(Sponsored by Atempo)

Will our valuable content libraries survive with the every changing formats and storage devices? Will we be able to find our content when and where we need it? How do content owners decide what will live and what will die? How will this change in the future? Find out about valuable developments in content archiving and automated metadata generation and asset management that will make sure that our content libraries are resilient, strong and useful. This session will help you to map out a strategy for long term retention of precious professional content.

Moderator: Mary Yurkovic, Createasphere

Speakers:
• Janet Lefleur, Atempo
• Rusty Rosenberger, Imation
• Jeff Spalla, Reeldata (Amplidata)
• Tom Goldberg, Cache-A
• Hossein ZiaShakeri, Spectra Logic

Categories: News

Apple Final Cut ProX Released- first commentary

June 21, 2011 1 comment

Key Code Media’s Michael Kammes Application Editor gave a first pass of the highlights of Apple’s just released FinalCut X.  We will be downloading FinalCut X at Key Code Media today to start a deeper dive into understanding the new application and determine where this complete re-write falls into the professional’s editorial spectrum.

Presently, the software is only available on the App Store.  Key Code presently has no word on how Apple will sell physical copies or VAR programs. Present pricing is broken out with the main$299.99 for FCP X application, plus the options of $49.99 for Motion 5 and $49.99 for Compressor 4.

Overall, the new FinalCut X has a lot of cool features and Apple is definitely a trendsetter.  Interestedly enough, the landing page at Apple.com highlights iCloud.  Auto-Analysis seems like a very interesting .  Here’s the direct quote from the Apple site

“Final Cut Pro dramatically speeds up preparing your media by analyzing your source material in the background while you edit. Content Auto-Analysis scans your footage and creates metadata based on the way editors like to work — with range-based tags for media attributes, camera data, shot type, and whether the shot contains one person, two people, or a group. Use these tags to sort, filter, and search your clips.

Set up Auto-Analysis to occur during import, or analyze clips later if you prefer. Content Auto-Analysis also performs processor-intensive analysis ahead of time for features such as image stabilization, corrections for rolling shutter distortion, color balance, and repairs for typical audio problems. Then you can use these features in real time as you edit.”

Aside from all of the cool kid stuff, here are the things you NEED TO KNOW: DVD Studio Pro is gone and some features of Color and Soundtrack Pro are rolled into FCP-X, but are not standalone apps. There is no capture from tape ability (AKA Log & Capture).  Instead, an editor would use the capture tools provided by AJA and Blackmagic. Capture from a  USB drive or Firewire camera or still camera is supported.  Here’s how to find out whether your camera work with FCP -X? http://help.apple.com/finalcutpro/cameras/en/index.html This also means that output (PLAYBACK) to an external monitor is at the mercy of AJA / Blackmagic, Matrox and other IO board companies.   I anticipate Thunderbolt to be the Holy Grail for this, or for AJA and BM to update some drivers for the Kona and Decklink series.

FCP X and FCP 7 can be on the same machine, same partition. FCP X will move some FCP file around, however. There is no multicam (currently) There is currently no way to import OLD FCP (pre FCP X) projects into FCP. The is no OMF ability. This means (currently) sending to Pro Tools or Soundtrack Pro is not available.

Machine requirements: Mac computer with an Intel Core 2 Duo processor or better 2GB of RAM (4GB of RAM recommended) OpenCL-capable graphics card or Intel HD Graphics 3000 or later 256MB of VRAM Display with 1280-by-768 resolution or higher Mac OS X v10.6.7 or later 2.4GB of disk space Format support (notice no RED). Many of these files listed below are TRANSCODED IN THE BACKGROUND for an optimal editing experience and playback (ProRes), so, pseudo-real time support. H.264 from GoPro and iFrame cameras H.264 from DSLR cameras Broadcast Wave Format DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD HDV Panasonic AVC-Intra, including AVC-Intra 100 and AVC-Intra 50 Sony IMX, XDCAM HD, XDCAM HD422, and XDCAM EX JVC-created XDCAM EX Canon XF MPEG-2; ingest supported with additional software AVCHD, including Panasonic AVCCAM and Sony NXCAM Uncompressed 8- and 10-bit SD and HD Apple Intermediate Codec Still images including PSD, BMP, GIF, RAW, JPEG, PNG, TGA, and TIFF Compressed audio including AAC, AIFF, BWF, CAF, MP3, MP4, and WAV

Here are some useful links to access to learn more: Apple Landing Page: http://www.apple.com/finalcutpro   http://www.apple.com/finalcutpro/all-features/      http://www.apple.com/finalcutpro/specs/       More links: http://www.larryjordan.biz/goodies/blog.html

Overall, we’d like to hold back on any commentary about the in depth workable differences between FCP 7 and FCP X until we have some legitimate drive time.  This update was condensed from the presentation today.

.: michael kammes mpse .: senior applications editor . post workflow consultant .: audio specialist . act fcp . acsr