A quick introduction to Colorista III, now available for Final Cut Pro X.
This presentation is causing a minor stir thanks to the revelation that a $100m studio picture is being cut on Final Cut Pro X1. That’s exciting news2 but the thrust of the presentation - the declining cost involved in producing high quality video - is even more so.
Lower costs mean more - and more diverse - stories are able to be told and to be seen. that is exciting.
The always excellent Alex4d with some early information on working between FCPX and the new Logic.
Apple has (finally) released the new version of their DAW, Logic Pro X, at the low low price of US$200. The only proper post-sound work I’ve ever done was in Avid’s ProTools which still seems to be the industry standard. Sound scares me.
Now that I have video embeds working (sort of) right here, why not embed this. It’s a music video I edited and colour corrected for Marcus McKenzie, produced as part of the Clip It initiative of the MRC.
It was a bit of a process, being the first real piece of work I got to do in FCPX. At the time I lacked a graphics card supported by Resolve, so the grade was done in Apple Color. I also had no straightforward way of getting the video from FCPX into Color either, so I used the ever-reliable “export the whole thing and slice it up in Color” method.
Now I can barely even look at the video, knowing all the things I’d fix if I had another shot at it in Resolve.
What it says on the tin.
Don’t hold that against it.
ProCutX by Pixel Film Studios is free for a limited time, down from around AU$20 or so. It’s billed as a control surface for Final Cut Pro X which runs on your iPad. You run a “server” app on your Mac, connect the iPad app to it and you’re ready to go.
It’s interesting as a novelty, but it’s much less responsive than just using regular keyboard shortcuts. As an indicator of where things could go in future with more official support however, it’s interesting.
I’m sure I’ll keep posting individual items from here as they come along but it’s worth noting this site in its entirety. Just about everything worth knowing about FCPX online.
It’s become one of the film world’s great pastimes to sit around and hate on what Apple did with Final Cut Pro X. Upon its launch, you would have thought Apple had come in and kidnapped every editor’s first born child. And, let’s be honest, the FCPX launch was not Apple’s finest moment. I still really believe that if Apple had introduced FCPX as Beta software and not immediately discontinued what was at the time (and in some ways still is) the best edit software on the market (Final Cut 7), people would have been really excited about X’s potential, and would have really enjoyed playing around with it instead of calling it an atrocity and affront to humanity.
This sums up the situation exactly. The calamity of the launch was not simply the ‘missing’ features from FCPX, but the combination of that and the sudden EOL of Final Cut Pro 7. FCPX is a great system, one I like more than 7 (which I’m still working in) but Apple’s actions went a long way to destroying any confidence people might have in them.
As with most FCPX problems, the answer is “use a compound clip”.
Part 1 of a workflow I doubt I’ll ever get to use. I cut a RED feature in FCP7 mostly following the RED whitepaper. I’d write a bit about how that process went, but it would probably get a bit repetitive