[John Pale]

Most effiecient (time wise) is to export a reference movie, which takes seconds. Bring that into Compressor and encode away. You can still use FCP while that happens. If you invoke Compressor straight from the timeline, it takes over your system while it encodes.

If you absolutely hate using 2 programs, FCP itself also still has its own batch processor (Window/Export Queue), as a legacy from the pre-Compressor days. This does not run in the background and prevents you from editing.

[John Pale]

https://www.apple.com/finalcutstudio/finalcutpro/

Note that Live Type is featured on the sidebar on the right of the page. It’s still there…they dont talk much about it because it has not really been updated at all.

I think the ability to access Motion’s text capability from within FCP 6 will make it irrelevant for a lot of people.

[John Pale]

https://www.apple.com/finalcutstudio/specs.html

Overall requirements are above. No feature by feature requirements listed. I would imagine most effect related stuff would be reliant on the graphics card. Color requires a really good GPU. ProRes would appear to be just a new codec, so I would imagine it would work on all configurations, provided your storage can handle the bandwith. Open Timeline…would love to hear someone who gets to play with it at NAB….Avid has been doing this for some time, so I doubt the requirement would be that great.

[John Pale]

[Steve Connor] “No sign of it yet in the UK store!
“

Probably still working on the spelling of Color….or rather Colour.

[John Pale]

They are surprisingly modest (And yes, for those nervous about it…..It will work on a G5 and even a G4)…though pay particular attention to the Graphics Card requirements…they are very important to this release.

Color (the new pro color grading app included) has higher requirements than other apps.

[John Pale]

https://www.engadget.com/2007/04/15/apple-keynote-live-from-nab-2007/#comments

12:30pm – “Color is revolutionary and helpful. It seems calculated to appeal to us, we make movies from beginning to end.”

12:31pm – “It’s designed to be a natural extention of FCP. Same UI for 3-way color correction with RGB and luma curves, lift, gamma, gain, visualization of color in 3D space. Mattes from chroma, luma, saturation, custom vignettes, hue and saturation curves. Color effects — string them together with a node tree. And Geometry. Bring all four of these things together and get what you want: a signature look.”

12:32pm – Demo from David Gross, FOX Australia.

12:40pm – Showing gradients and multiple secondaries. Auto-balance tool for contrast, color, etc., and makes automated colorization adjustments. Drag and drop grades from clip to clip. #d scope, all the pixels representation of pixels in a frame. “It’s like a lamp post, the lights at the top and the shadows at the bottom — with a ring of color. Selects a 3D cage around the colorized pixels. Easily dragging the colors and changing whole portions of eyedropped video with keys and vignettes.

12:48pm – Supports custom shapes for colorization effects, not just circular and square. Now color effects. All these effects / look presets are easily exportable and emailed between editors. “Definitely going to become the weapon of choice for all the editors I know.”

12:50pm – “Thank you. I hope David charges by the project, not by the hour. We wanted to do for color grading what FCP did for editing. First, you have to have a great product. There’s only one answer: to include it in FCS2.” Big applause.

[John Pale]

There are no such filters.
Echo is pretty much impossible to remove. The physics just don’t work.

Sorry to be the bearer of bad news.

[John Pale]

[zvi4343] “Manageable file size and FCP stability (no rendering)
are of utmost importance.”

Only the “standard” codecs are compatible with FCP’s realtime architecture. If you use anything other than those you mentioned, you will have to render everything.

If you want managable file size for SD, then DV25 or DV50 is probably best. For HD, then DVCPROHD.

[John Pale]

Shane’s one of the sharpest people on the Cow, but I gotta disagree with him on this.

If you don’t have the Kona 3, the best crossconversion option is getting it done on a hardware converter (terranex, aja, etc) at a dub house.

If you cant afford that, you might want to try exporting a reference movie to Compressor. Use the DVCPROHD 1080i/60 Preset in “Advanced Format Conversions”.

Bring the resulting file back into FCP, use the AJA DVCPROHD 1080i/29.97 Easy Setup. Then output to a HDCAM deck.

You should not convert your media to 8 bit Uncompressed. That will get you nothing but an enormous file sizes (and one which your system probably will not be able to play).

Once again. Simplest solution…output to the format you edited in. Everything else is really labor intensive and may not work to anyone’s satisfaction.

[John Pale]

You need to master to DVCPRO HD then send out your master to a dub house to be cross converted to HDCAM (which is 1080i)

If you had the Kona 3 you could just output to tape, as the Kona 3 will cross convert for you.