Philadelphia Final Cut UG

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  • The Philadelphia Final Cut Pro User Group is over 3 years old. LA? Huge. NYC? Huge. How can we help? This daily news site blogs the latest links from all over the web. We meet usually the last thursday of the month. Meetings are both posted here and to our UG mailing list. (link below)

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  • Final Cut Pro News 2.0
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Workflow

Aug 31, 2008

Apple - Support - Downloads - Apple ProRes QuickTime Decoder 1.0 for Windows & Mac

Finally. A way to view Prores...on Macs (without FCP) and Windows.

Of course a Windows encoder would be nice too for workflow. And it'd be doubly nice if someone would come up with a way to pass alpha channels along with compressed HD.

The Apple ProRes QuickTime Decoder software allows both Mac and Windows users to play Apple ProRes files through QuickTime. Apple ProRes is a visually lossless format that provides uncompressed HD quality at SD data rates.
It is an excellent choice for mastering and can easily be transcoded to distribution formats like H.264. With new support for playback on both Mac and Windows computers, Apple ProRes can also be used for review and approval of Final Cut Studio sequences.

[From Apple - Support - Downloads - Apple ProRes QuickTime Decoder 1.0 for Windows ]
[From Apple - Support - Downloads - Apple ProRes QuickTime Decoder 1.0 for Mac ]

Mar 14, 2008

Scene Detector

Frank Capria mentioned the After Effects Scene Detector -

John brought to my attention the Final Cut Scene detector. (Thanks John!) Way too cool!

Why is this useful? If you've ever had to perform color correction on a finished item, this tool saves you from having to find each edit. You do a little round trip dance with the clip (send it out with some XML, bring the XML back....and have markers).

Now, you're ready to use the 3 way color corrector, Colorista, or even Apple's Color.

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Scene Detector is advanced utility for automatic detection of scene boundaries in a movie. Scene detection is performed using only frame image data, no timecode or audio metadata is used.


It opens Final Cut project file (exported in XML format), asks user what clip to detect scenes in, and exports project file (in XML format) with markers added at scene boundaries. User has to import the XML it outputs back into Final Cut. The clip file is not changed during this operation, so it can reside on read-only device.
Current version of the product is 1.1.
[From Scene Detector | Contacting us]

Feb 16, 2008

Cool ProRes notes

Ran across this interesting post on using Prores in Standard Def. Worth a quick gander.

2 weeks ago I finished my testing on the ProRes SD flavor of Apple's new codec. While many have tested the ProResHD variant, the SD variant hasn't been quite as scrutinized.

[From ProRes SD Results (Finally) | Post-Production

Nov 03, 2007

When to stay in the native codec

When to stay in the native codec:

When to stay in the native codec of the source,
and when to convert to something else.

Oct 06, 2007

AJA IO HD info @ HD for indies

HD For Indies:
Reader Report on AJA IO HD, Mike's Comments

Hey, isn't this supposed to have shipped in July?

Final Cut Pro 6 Techniques: Editing with Canon’s 24F

Final Cut Pro 6 Techniques: Editing with Canon’s 24F

Wish it was a little more comprehensive.

May 12, 2007

Reel Names in FCP. Did you know this?

Boy, I have no idea when this was added.
And I want to personally thank the engineer who added it, and the person who pushed this through product design.

When you capture a tape with a timecode break, FCP 5.1.4 automatically changes the reel name.

Doesn't sound so important does it?
When you go to recapture a show (for finishing reasons, uprezzing, reconstructing a show from the past...), it's key that you have unbroken timecode on the tape and the correct Reel inserted in your deck.  This way, your system can just shuttle through the tape, and it will batch capture all your clips.  But if you've got any timecode breaks on the tape, the timecode resets to Zero.

This is catastrophic.  It means that you have timecodes on the same tape that recur.  There is more than one 1:00:00 (one minute) mark on the tape.  Every time the timecode resets, you're defeating batch capture.

An editor has to go back and manually figure out which 'zone' the timecode is supposed to be from (which is even more difficult if the footage is entirely offline and you're not sure which part of the tape it should be from.)  I was batch capturing an entire reel (something that I usually don't do - but as an experienced offline and online editor, I chose this type of workflow to handle a specific job.)

While capturing, I ran into a timecode break.  Final Cut pro CHANGED THE REEL NAME and added a Letter.  So Dumas Tape 1 because Dumas Tape 1-B.  Which means that if I have to recover the footage, I know to go to the second zone on the tape.

Someone in the Pro Apps paid attention. I don't recall FCP ever doing this before.  On other editing systems, I have to do this by hand (change the reel name, append the letter, etc.)

Oh, and if you want to prevent this (especially in DV, where turning off the camera causes this), you should turn on the camera, rewind into previously recorded area, and then hit record, providing continuous timecode throughout your tape.

Jul 31, 2006

Gamma handling is different in Shake and Final Cut Pro

Gamma handling is different in Shake and Final Cut Pro:
Shake makes no automatic changes to the gamma of QuickTime or RGB image files and sequences. Users must make sure that their monitor is properly calibrated for their production environment, and that the ViewerLookup parameters are set to the values required for images to display properly in the Shake Viewer. In particular, the default viewerGamma value is 1, which leaves the gamma of images displayed in the Viewer unchanged.

Final Cut Pro, on the other hand, makes some assumptions about the gamma of QuickTime and RGB image files that are imported into a project. The gamma of imported QuickTime and RBG image files is treated differently in sequences set to render in 8-bit or 10-bit YUV.

Tip:  While it is possible to recalibrate Apple displays via the Display Calibrator Assistant in Displays preferences, users should leave the gamma of their monitors to the 1.8 Standard Gamma setting when working in Final Cut Pro. ColorSync settings are not used by either Shake or Final Cut Pro for automatic color calibration or compensation of any kind.

Apple - Xsan - Video Workflow

Apple - Xsan - Video Workflow:
Digitize with Zero Dropped Frames

Capturing video or audio data from tape to digital storage system — the ingest or capture process — demands consistent high-bandwidth drive performance. With Xsan, your SAN can accurately capture media from an ingest station (or multiple ingest stations) without frame drops

Apple's webpage on XSAN workflow

Jun 18, 2006

cineSync - Video

cineSync - Video: "About cineSync Enables multiple people across the world to efficiently review visual media, from static images to movies. With cineSync, what you see is what others see: experience synchronised movie playback across everyone%u2019s screen with frame-accurate precision."

A cool looking app allowing clients to make remote notes simultaneously.

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