Posts Tagged ‘Final Cut Pro

25
Dec
09

unboxing boris continuum complete free trial

Newly engaged, me and my fiance are enjoying a lazy Christmas in exotic, cold and foggy Chevy Chase, MD.  And while she’s snoozing it up I’m playing around with this 14 day free trial of Boris Continuum Complete 6 FxPlug for Final Cut Pro and Motion.

I’ve been using Motion more and more recently and investigating ways to get more true 3D looking stuff, especially text, in my work.  Boris seems to have a good option with Continuum Complete…

Looking pretty good and I’m wonking my way through this seriously awesome-seeming suite of plugins.  They have a good amount of tutorials on their website and one of the cooler things I stumbled upon was the Pixel Chooser.

Click on the image above for the tutorial, a good way to matte a foreground subject and add a color effect to the background.  I do most all of my color correction in Apple Color and I’m really looking forward to Bob Sliga’s Scone Looks but this level of quick and dirty ColorFX room compositing right in FCP is mind-boggingly cool.  While I’m not sure work will spring the $995 for the full version, I will certainly take advantage of this 14 day free trial and put BCC 6 through its paces.

proactively • the best things for Christmas are free • peter

Disclosure, to comply with the FTC’s new rules

None of the manufacturers listed above are paying Peter Salvia to write this article and, so far, none have sent him any samples or demonstration items.

***UPDATE 26 Dec 09***

I’d be remiss not to link to Zac Peric’s BCC 6 review.  Check it out here.

12
Jan
09

fcprose episode 5 – manage hd media

The trick isn’t simply cutting, coloring, and compressing your film for independent internet distribution.  The real trick is keeping your post production pipeline managed so you can cut the sequel while simultaneously finishing an extended director’s cut of the first film in Edit 2 (be it your MacBook Pro on the coffee table or a DaVinci suite with bells on it).

Or maybe you want to collect all your media from thirteen diferent internal and external hard drives and place it in a new Shared Acces Network box.  Or move all of day one’s P2 media on drive 67 and day five’s XDCAMmedia on drive 32.  Or whatever else your entreprenurial, independently film made heart desires.  Media management is your ticket.

The principles I discuss in episode 5 can be applied to all types of HD and SD media formats including footage acquired by the Canon EOS 5D Mark II, Nikon D90, Canon HV30, Panasonic HVX-200, Sony EX-1, RED ONE, etc.  I highly recommend clicking through for the HD version in case you want to see FCP’s UI properly.

Hope this to0t helps with managing all those Terrablocks, G-RAIDs, and bus powered LaCie hard drives out there.

proactively • managing our medium • peter

27
Nov
08

youtube – widescreen!

Happy Turkey Day from Youtube, 16×9 widescreen is now the default viewing experience.  Here’s an embed of the In Studio show my brother Jon produces for 103 WRNR in Annapolis, MD.

Embeds are still letterboxed but if you check out this video on YouTube’s site you will see it displayed in its native 16×9 widescreen glory. Note, I am embedding the high quality version by adding “&fmt=18″ to the tail of the video’s YouTube url.

The footage is captured on Canon HV20, HV30, and HF10 cameras as available (thanks again Mike the Mailman!).  Shot with a 23.98 frame rate and edited as a multiclip sequence in Final Cut Pro, the key to taking advantage of YouTube’s new widescreen presentation is choosing the appropriate Compressor export setting:

compressor-iphone-640x480

Name: H.264 for iPod video and iPhone 640×480
Description: H.264 video @ 1500 kbps, progressive, multi-pass. Audio is 44.1 kHz, stereo
File Extension: m4v
Estimated file size: 644.17 MB/hour of source
Device: iPod/iPhone VGA
Frame sync rate: 5 seconds
Video Encoder
Format: QT
Width and Height: Automatic
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: (100% of source)
Frame Controls: Automatically selected: Off
Codec Type: H.264
Multi-pass: On, frame reorder: Off
Pixel depth: 24
Spatial quality: 50
Min. Spatial quality: 50
Key frame interval: 120
Temporal quality: 50
Min. temporal quality: 50
Average data rate: 1.5 (Mbps)
Maximum data rate: 4 (Mbps)
Audio Encoder
Format: MPEG4
Sample Rate: 44.100kHz
Channels: 2
Bits Per Sample: 16
AAC encoder quality: high
Data rate: 128 Kbps

Or if you wanted to be super efficient, you could use this setting…

compressor-apple-tv

…and upload the same compression to YouTube and Vimeo.

So WTG YouTube, now can we get 720p already?

proactively • all HD all the time • peter

18
Oct
08

FCProse Episode 4 – cut color compress 5dmarkii footage

Here’s the all-in-one video tutorial showing you how to cut, color, and compress 1080p video captured with Canon’s upcoming 5D Mark II Digital SLR with three Final Cut Studio 2 applications: Final Cut Pro, Color, and Compressor. I recommend clicking thru for the hd version to better see the application interfaces.

In this episode I walk through the steps to edit your footage in Final Cut Pro, perform a broadcast safe grade in Color, and then make a web compression for upload to YouTube and Vimeo using Compressor.

I work directly with the source H.264 video Vincent Laforet made available for download (no H.264 -> Apple ProRes 422 transcode this time around). I also discuss some system specs and rant about High Dynamic Range video. A quick tag surf lead me to this post that has an example of HDR video captured by something called the HDRC® MDC04 CL camera system.

What’s High Dynamic Range (HDR), you ask? Check out yet another Chad Richard HDR timelapse (click thru for the full HD effect):

Mr. Richard has done a lot of heavy lifting to convert a series of HDR stills into 1080p video (and then compress for Vimeo, of course). Check out his tutorial for this process here.

We’re at the forefront of a paradigm shift where digital photography and high definition video are converging. Check out Romy Ocon‘s 5dmkii bird photography, err, video:

Right now is an exciting, exciting time.

proactively • sitting in a front row seat • peter

02
Jul
08

Posting The Black Keys – Levels of Hell 1 thru 3

The Black Keys – Strange Times

We used three cameras for the production of The Black Keys Private Artist Showcase:

2 x Canon HV20 recording HDV 1080p24

1 x Canon HF10 recording AVCHD 1080p24

Ideally, we would have had 3 HV20’s for total parity. Alas, Mike the Mailman decided to purchase the Canon HF10 which records 1440×1080 24p in AVCHD to a solid state memory card. And here the troubles began.

My brother Jon searched far and wide for a method to convert the .m2ts HF10 media to a format that Final Cut Pro 6 could understand. The solution he found was Voltaic.

Voltaic has the ability to convert Canon HF10 footage to 1440×1080 29.97 AIC Quicktime. Fantastic.

Not so fantastic is that it takes forever and there is no progress bar. Prepare for the suck.

Suckier still, this means the footage Jon captured from the two HV20 tapes as 1080p24 HDV now needed to be converted to Advanced Intermediate Codec (AIC) 29.97 to match the HF10 format so we could create a multiclip to edit. Grrr.

And all of this takes time.

Yes, these Private Artist Showcases are a labor of love. But try capturing 2 hours of tape and 1 hour of AVCHD from the HF10. Then use Voltaic to convert the 1 hour of .m2ts HF10 footage to an editable Quicktime format over the course of 4 hours (or more according to Jon). And then, convert the two hours of HDV to AIC over the course of another 2 hours.

You are now close to 10 hours of capture / ingest time and you haven’t even started to edit yet. For 3 hours of footage. And this is all on a dual 2.6GHz MacPro tower using FW800 LaCie drives. Not a slow setup by any means.

Hand me a gun so I can shoot myself in the face.

Tune in next time when things start to go bad.

proactively • pricking his finger on the tip of the iceberg • peter

02
Jul
08

Strange Times – Posting The Black Keys

You may know about The Black Keys.

And you may know about the Canon HF10 and HV20 cameras.

Throw them in a pot with a slathering of blood sweat and tears, a tablespoon of the right industry connections, and mix with 12 hours of your life that you will never, ever get back, then bring to a rendering boil.

Equipping backup underpants is highly recommended before viewing due to the high concentration of fiber-optic content.

Assuming you’ve had the chance to wipe, I’ll continue with outlining the hell(s) that was posting this footage:

1st Level of Hell

Capturing Footage

2nd Level of Hell

Converting HF10 footage using Voltaic

3rd Level of Hell

Conforming footage for multiclip

4th Level of Hell

Identifying the Corrupted Portion of the HF10 Quicktime that causes FCP to crash

5th Level of Hell

Discovering Color cannot read the HF10 Quicktime

6th Level of Hell

Finding out FCP cannot export the final Quicktime in any way. Period.

7th Level of Hell

Realizing you’ve spent 6 hours of your life just troubleshooting this entire workflow and you will never get those 6 hours back.

So there’s the initial outline of the post process, each step with its own personalized level of Hell all to itself. Check back soon for descriptions of each Level of Hell in excruciating, awful detail.

proactively • not looking forward to reliving this • peter

25
Apr
08

Apple Pro-Apps for Sale?

Shake@fxshare.com rumor-mill monger Randy Little struck again earlier today with his Autodesk Rumors subject heading:

Did anyone else get told by Autodesk that apple is selling off its pro apps? A friend of mine was told by an Autodesk employee this rumor. I don’t really believe it. Little OT but I thought it goes with my last post a little.
http://www.roughlydrafted.com/2008/02/12/is-apple-shedding-its-final-cut-pro-apps-at-nab/

I too was privy to an onslaught of pre-NAB 2008 Apple pro-app rumors, mainly flung from the Avid base. Rumors such as “Apple Pro Res 422 is going to be discontinued due to copyright infringement” and “Steve Bayes stole Avid’s dnx_hd code to create the Pro Res 422 codec” and so on. Haters.

Back to the listserv report, Tim Turner chimed in with an illuminating post:

In one of the Fxguide NAB podcasts, they said that Apple Officially denounced that rumor, and made a point of it, because Apple never responds to any rumors.

And if you weren’t interested enough (yet) to click through the above link, commenters responded with posts such as Brau’s

All these Pro Apps have filtered down to the average Mac user in some form and there’s no way Apple will divorce themselves from them. In my own case, after using GarageBand on a 900mhz G4 tower, it convinced me to upgrade to a G5 Quad and invest in Logic Pro. The improvements Apple made, followed the radical price drop, were an incredibly welcome surprise. I also know a few people who have upgraded to Final Cut after having taken iMovie to its limits.

and daniel.lucas’s

I’d like to see an Adobe acquisition by Apple but I’m not sure how realistic that is. With so many apps in the Creative Suite it might be a little too much for Apple to handle along with their current pro apps plus consumer apps plus hardware.

and then lehenbauer’s stroke of poetic rhetoric reared it’s furious head summarizing

Video and audio production are to Macs today as desktop publishing was twenty years ago. With an upgrade path from free to semi-pro to pro apps (iMovie -> Final Cut Express -> Final Cut Studio, GarageBand -> Logic Express -> Logic Studio), anyone can start with the free apps and grow into completely pro apps on which mainstream movies and TV shows are produced (Logic can even load GB files.)

The idea that Apple going to ditch the pro apps is nothing more than, at best, wishful thinking or, at worst, an attempt to sow fear, uncertainty and doubt among an Apple stronghold.

One of the most interesting snippets I found in the article was the time line of Final Cut Pro’s evolution:

  • NAB 2000 Final Cut Pro 1.2.5 with support for 16:9 video format and native YUV color space, Matrox real time video cards.
  • NAB 2001 Final Cut Pro support for more real-time DV hardware from Pinnacle, Canopus and Matrox.
  • NAB 2002 DVD Studio Pro 1.5
  • NAB 2003 Final Cut Pro 4, LiveType, Soundtrack, Compressor, DVD Studio Pro 2, Shake 3.5
  • NAB 2004 Final Cut Pro HD, Motion, DVD Studio Pro 3
  • NAB 2005 Final Cut Studio, Motion 2
  • NAB 2006 Shake 4.1, 500,000 Final Cut users
  • NAB 2007 Final Cut Studio 2, Color, Motion 3, Final Cut Server. 800,000 Final Cut users

Finally back to the listserv reporting, Deke Kincaid arrived on the scene with his shake@fxshare.com voice-of-reason-hat firmly in place reminding us

That’s February old news, where have you been? :)

Well Deke, your humble narrator isn’t too proud to serve day-old bread. And if you too are in awe of the awesomeness that is Roughly Drafted Magazine, check out a few more links of interest:

Microsoft’s Plot to Kill QuickTime

How Microsoft Pushed QuickTime’s Final Cut

Mac Office, $150 Million, and the Story Nobody Covered

proactively • narrating away • peter




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