[Ben Holmes]

[Dan Brockett] “Unless you have experience with it, laying back to HDCAM is fraught with ways to screw it up, you need tri-level sync, you must be outputting legal levels”

Not true – you would be advised to use genlock (which does not need to be tri-level), but you can assemble record to an HDCAM deck without (assumes you don’t want to insert edit) and levels have no bearing on this – it’s an SDI signal. I recently laid off an hour of material in the field to an HDCAM deck with a single SDI cable and no genlock.

Laying off to HDCAM is no more fraught than a layoff to Betacam SP or similar. Knowing how to use the deck to set timecode etc. is not as easy.

Given that, An IO express and an HDCAM deck hire is the cheapest option – obviously a player/recorder not a J-series. However, if this material is for broadcast, I would recommend taking the completed edit to a post house to have them check it for levels (running it through a legaliser is the easiest fix for this) and QC it as well. Not cheap – but correct.

Ben

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[Ben Holmes]

Are you monitoring the motion renders via the FCP Canvas, or an external monitor? If it’s the former, I assume you realise the Canvas does not display anything at full quality? Just trying to remove the obvious here…

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[Ben Holmes]

[Rafael Amador] “Perhaps Apple saw that the ProApp Division walks too slow. “

I like that theory! It sure feels like the Final Cut division needs a kick – maybe this is a sign of a restructuring for the better?

Trouble is – with Apple we will never know. I do know that if this is the case, unless they just finished a new FC product, if there is a new team we are a LONG way from a new product…

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[Ben Holmes]

Well – I guess it IS unsubstantiated, but it comes from a former Apple coder (who worked on Final Cut) and I see no reason to think it’s false – why else would Pete Warden be putting forward specific ex-employees for other work on his own blog?

https://aeportal.blogspot.com/2010/02/lone-twitter-apple-lays-off-40-of-final.html

And naturally the word comes from outside Apple – you may have noticed they’re pretty secretive. Anyone seeing some kind of Adobe conspiracy here needs to take off the tin hat and get some fresh air.

I take the opposite view from Walter about this – I think for as long as Apple sell pro computers (and that’s actually most of them if you include MacBook PROs) and continue to make big money from them, Final Cut will continue to be a huge driver of sales, and will remain under Apple’s control. Spinning it off is just not going to happen – can you see a situation where another company could release Final Cut on PCs? Unthinkable for Apple. Even a more tightly controlled spin-off is just not Apple’s thing.

I’ve also long been in the camp unconcerned about Apple abandoning Pro Apps – I don’t believe the success of the iPhone means they’ve stopped selling computers. I also recognise that the requirement to re-write FCP from the ground up and go 64-bit means a slowing of new features for a while.

However, if you look at Pete’s reply in the above link (and really, what reason do you have to think he’s lying – apart from that “Apple is evil” line in his tweet – after they laid his friends off?), Apple have laid off experienced “creatives, product managers and graphics coders”. These sound like people who actually do real work on FCP. I also don’t think it can be that small a part of a Pro Apps team. Why not relocate them if you’re cutting back on off-site staff? At the very least, some word as to why would be useful.

Personally, I’m still in the camp that sees Apple continuing to support what continues to be a growing market, and a massively popular piece of software that drives a lot of hardware sales. I can simply see no reason for them to do otherwise. I’d still like to see some word from Apple why this happened – some word what their intentions are for FCP before users jump ship. A little less ‘veil of secrecy’ nonsense.

And to whoever said they wish less of this kind of thing was posted on this forum – I’m sorry, but I wish this were posted on the internet more, and the story spread until Apple feel they should comment – as they have on other topics once it hits the mainstream blogosphere. I also think the future of FCP is one of the most important topics that could be discussed here. It certainly makes a change from two hundred posts about why someone’s graphics look worse in their canvas.

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[Ben Holmes]

Look under Tacky > Ripple.

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[Ben Holmes]

All of what Zane says is of course correct and well documented here. I look forward to the day when someone will develop affordable stand-alone gig-E solutions for iMacs. I’d love to hear of some. As gig-E is excellent for shared storage, I know companies like Small Tree have blazed a trail for larger setups, where iMacs are excellent editorial setups.

However, more and more people are using tapeless formats and delivery. If you fall into this catagory, the newer Imacs with FW800 storage will handle most of your needs – I’m editing EX-CAM 422 off a G-raid right now, as well as ProRes material, both at 1080p. I’m using a Mac Pro, which would obviously be quicker for some rendering – although with the new I7’s, I’m not sure how much difference you’d see in FCP.

One more note – when this topic has come up before, the odd mention has been made of the V4HD allowing through connection of FW devices and working with iMacs for capture – I believe they mention this capability as one of it’s USPs. I could be wrong. I’m not interested in purchasing one just to find out however. Search for iMac on here for many other opinions.

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[Ben Holmes]

I think the possiblilities in terms of apps for our use are endless. Think of this as a $500 Cintiq or Lemur and drool…

Here’s what I want (and frankly if someone else doesn’t do it pronto, I’m gonna round me up some overseas coders and do it myself – so save me the bother): A FCS app – that has controls for each app.

Here’s a few examples:

– Faders in the audio mixer in FCP with multitouch control. Gang/group to your hearts content.
– Virtual trackballs in Color – imagine them zooming in and out as required.
– Hotkeys as required – for switching, key combos, etc.
– Scrubbing/Scrolling etc. I’m fairly sure a circular setup would be a bit painful to use, so I’d think
instead about a linear approach, to save me waving my mouse up and down the desk.

Millions of editors using tablets instead of mice will see the potential – we just needed an accurate, affordable piece of hardware to make it work – and the iPad is said to be a very accurate touch experience.

I know of several companies using VNC software on set to send video assist to ipods and iphones for remote monitoring. I’d imagine the iPad will be snapped up for this – and could translate to facilities – Imagine being able to see what was going on in all the suite in a big edit facility.

It’s clear that Apple’s secrecy over the launch of this meant that developers could not really explore the full capabilites of a device with a much larger screen than the iphone. The diversity of trackpad type apps already available for this iphone, leads me to believe the above is possible, even if it’s a bit of a cludge for third parties to achieve some/all of it.

I suspect that we will have to wait for Apple to bring out their own solutions for pro apps – iWork at least shows they are willing to do this. I won’t hold my breath, but will cross my fingers and hope hope hope.

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[Ben Holmes]

You would do better right now to use REDCine with a full debayer, or REDRushes to transcode footage if you want to relink later – Apple’s software does not currently support the improved colour science in recent RED footage, and you will lose colour fidelity and quality in the blacks. You will also be able to do the resizing and conform there. Unfortunately, the Apple Whitepaper does not reflect the current, fast changing world of RED tech.

I recommend a look at recent posts on the RED forum about this.

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[Ben Holmes]

https://www.roxio.com/enu/products/toast/default.html?rTrack=m_pro_toast

Click the compare button – see if any of that applies to you. The plugin is $20 otherwise.

Toast IS the answer if you just want to create ‘put disk in and play’ disks, or you are blind and so think the menus supplied in Toast are tasteful.

If you can deal with Encore’s ‘issues’, and keep it simple, due to the fact that you can use your own video backgrounds for a play menu, as well as design artwork in Photoshop and drop it straight in, you will certainly (eventually) achieve a much more professional look – as you would in DVDSP. Just without the ease of use.

I ONLY use Toast for autoplaying disks and burning ISOs – it’s on-screen options are ghastly.

Ben

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[Ben Holmes]

Bouke – I think there’s a need. an mp3 would be ideal for transcription, and for when you want to avoid translators coming to you rather than emailing them the interview. In my experience, this question is often asked, and as good to know as Walter’s solution is, this would be better.

Ben

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