It's a Brave New World – Blog edited by Scott Arundale

From Philip Hodgett’s blog:

Final Cut Pro X 10.0.6 is probably the most feature-rich release since the original one. As well as the features Apple discussed at NAB  2011:

• Multichannel Audio Editing Tools
• Dual Viewers
• MXF Plug-in Support, and
• RED camera support

there’s more. Much more. Including a feature I wish they hadn’t put in and one I’m extremely pleased they did. I’m ecstatic that selective pasting of attributes is now an Final Cut Pro X feature, but I’m really annoyed that persistent In/Out points made it to this release. More on these later.

There’s a rebuilt and more flexible Share function; a simplified and improved Unified Import with optional list view, horizontal scopes mode (and scope for each viewer), Chapter Markers, faster freeze frames, support for new titling features inherited from Motion, more control over connection point, 5 K image support, vastly improved Compound Clip structure (both functional and for us the XML), customized metadata export in the XML (for asset management tools mostly), and two features that didn’t make it to the “what’s new” list: Range Export from Projects and a bonus for 7toX customers.

All up I count more than 14 new features, whereas Final Cut Pro X 10.0.3 had four (although arguably Multicam and Video out were heavy duty features).

Because of the developer connection, I’ve been working with this release for a few months. We have new versions of 7toX and Xto7 waiting for review in the App Store that support the new version 1.2 XML.

MXF and RED Camera Support

In keeping with their patten, Apple have supported a third party MXF solution rather than (presumably) paying license fees for each sale when only a small percentage of users will use the MXF input (and yes, output) capability. The named solutions are MXF4mac and Calibrated{Q} MXF Import, but apparently there are others. Working with MXF files should not feel different than working with QuickTime files.

Along with RED native support, Apple quietly upped the maximum resolution from 4K (since release) to 5K.

I don’t work with MXF or RED so I’ve had no ability (nor time) to test these functions. I’ll leave that to those with more knowledge.

Dual Viewers

More accurately, the current Timeline Viewer and an optional Event Viewer (Window > Show Event Viewer). You get one view from the Timeline and one view from the Event. I can see how this could be useful at times, although truthfully I never missed it.

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Multichannel Audio Tools

There’s a lot of room for improvement in the audio handing in Final Cut Pro X so the new multichannel audio tools are a welcome step in the right direction.  Initially there’s no visible change, until you choose Clip > Expand Audio Components. With the audio components open, you can individually apply levels, disabled states, pans and filters to individual components, trim them, delete a section in the middle – all without affecting the clips around.

No multichannel audio in Solar Odyssey, so I borrowed a test file from Greg used to add support to 7toX and Xto7.

For 7toX, if there are separate audio levels, pans or keyframes on a sequence clip’s audio tracks these will be translated onto the separate audio components in Final Cut Pro X. Similarly for Xto7 the levels/pans/keyframes on the clip’s audio components are translated onto the audio clip’s tracks.

More flexible Scopes

A new layout – Vertical – stacks the Scopes on top of each other. Better still, they remember the settings from the last time used! Also good is that you can open a Scope for each of the viewers.

You should note that both those images are 720P at 97% (from the Parrot A.R. Drone 2.0 FWIW). I love the Retina display!

Improved Sharing

There’s now a Share button directly in the interface. More importantly, you do not have to open a Clip from the Event as a Timeline to export.

But what’s that at the end? Why yes, I can create a Share to my own specifications, including anything you can do in Compressor (by creating a Compressor setting and adding that to a New Destination). Note that HTTP live streaming is an option.

Final Cut Pro X 10.0.6 will also remember your YouTube password, even for multiple accounts. If you have a set package of deliverables (multiple variations for example) you can create a Bundle that manages the whole set of outputs by applying the Bundle to a Project or Clip in Share. Create a new bundle and add in the outputs you want.

Range-based export from Projects

Another feature not seen on the “What’s new” list is the ability to set a Range in a Project and export only that Range via Share. A much-requested feature that’s now available.

Unified Import

I never quite loved that I would import media from the cameras (or their SD cards) via the Import dialog, while importing Zoom audio files was a whole other dialog. Not any more with the new unified Import dialog. There’s even an optional List View, which is my preferred option. (The woodpecker was very cooperative and let me sneak in very close with the NEX 7.)

Waveforms and Hiding already imported clips are also options. The window now (optionally) automatically closes when Import begins.

Chapter Markers

For use when outputting a DVD, Blu-ray,  iTunes, QuickTime Player, and Apple devices.

The Marker position notes the actual marker, the orange ball sets the poster frame, either side of the chapter mark. A nice refinement for Share.

In 7toX translation, sequence chapter markers become chapter markers on a clip in the primary storyline at the same point in the timeline.

Fast Freeze Frame

New Compound Clip Behavior

Did you ever wonder why Compound Clips were one way to a Project and didn’t dynamically update, but Multicam was “live” between Events and Projects? So, apparently did Apple. (We certainly did when dealing with it in XML). Compound Clips now are live.

• If you create a Compound Clip in a Project, it is added to the default event and remain linked and live.
• If you create a Compound Clip in an Event, it can be added to many Projects and remain linked and live.

By linked and live I mean, like Multiclips, changes made in a Compound Clip in an Event will be reflected in all uses of that Compound Clip across multiple Projects.

Changes made to a Compound Clip in a Project, are also made in the Compound Clip in the Event and all other Projects.

To use the old behavior and make a Compound Clip independent, duplicate it in the Event.

The old behavior is still supported so legacy Projects and Events will be fine.

Final Cut Pro 7 sequences translated using 7toX become these new “live” Compound Clips. If you don’t want this behavior you can select the Compound Clip in the Project timeline and choose Clip > Break Apart Clip Items to “unnest” the compound clip .

Selective Pasting of Attributes

It had to be coming, and I’m glad it’s here. This has probably been the feature from Final Cut Pro 7 I’ve missed most.

One of the things I love about Final Cut Pro X is that there are “sensible defaults”. Not least of which is the Maintain Timing choice. In the 11-12 years I spent with FCP 1-7 on three occasions I wanted to use the (opposite) default. Every other time I had to change to Maintain Timing, which is now thankfully the default.

Persistent In and Out Points

You got them. And it’s a good implementation, allowing multiple ranges to be created in a clip. I am not a fan, and wish it were an option. Over the last two months I’ve added keywords to “ranges” I didn’t intent to have because the In and Out were held from the last playback or edit I made. Not what I want. So I have to select the whole clips again, and reapply the Keyword. It gets old after the twentieth time.

It gets in my way more than it helps, which is rather as I expected. Selection is by mouse click (mostly – there is limited keyboard support) so this gets every bit as confusing as I anticipated.

Your last range selection is maintained. To add additional range selections (persistent) hold down the Command key and drag out a selection. (There are keyboard equivalents for setting a new range during playback.) You can select multiple ranges and add them to a Project together. (I’m not sure about the use case, but it’s available.)

Customizable Metadata Export to XML (and new XML format)

Along with a whole new version 1.2 of the XML (which lets us support more features in the XML) is the ability to export metadata into the XML. These are the metadata collections found at the bottom of the Inspector.

Remember that you can create as many custom metadata sets as you want and choose between them for export. This will be a great feature as soon as Asset Management tools support it. No doubt Square Box will be announcing an update for CatDV the moment this release of Final Cut Pro X is public.

The new XML format also allows 7toX to transfer a Final Cut Pro 7 clip’s Reel, Scene, and Shot/Take metadata into their Final Cut Pro X equivalents.

Flexible Connection Points

We’ve always been able to hold down the Command and Option keys to move a connection point. What is new is the ability to move a clip on the Primary Storyline while leaving connected clips in place. This is really a great new feature and one I’ve used a lot. Hold down the Back-tick/Tilde key (` at the top left of your keyboard) and slip, slide, trim or move the Primary Storyline clip leaving the connected clips in place.

Titling is significantly improved, including support for the new title markers feature in Motion

As I’m not in the Motion beta I’m not at all certain what this means. I’m sure Mark Spencer will have an explanation over at RippleTraining.com soon.

Drop Shadow effect

Well, a new effect that adds a Final Cut Pro 7 style drop shadow to a Clip. If you’ve got a clip in Final Cut Pro 7 with a Motion tab Drop Shadow applied, 7toX will add the new Drop Shadow effect to it during translation.

Bonus unannounced feature – XML can create “offline” clips

This is great news for developers because previously all media referenced by an XML file had to be available (online) when the XML was imported into Final Cut Pro X. With XML version 1.2 that’s not necessary, so we’ve taken advantage of this in 7toX. The user can relink the offline clips to media files by the usual File > Relink Event Files… command after translation and import.

What else do I want?

I’d like a Role-based audio mixer.

I’d like Event Sharing to multiple users at the same time, with dynamic update of keywords and other metadata between editors. (I do not think I want to share a Project in that way – more sequentially manage with a Project, like Adobe Anywhere.

Fujifilm has decided that the time has come for it to move on from film for motion pictures after 78 years. Starting in March of 2013, the last Japanese producer of negatives (for shooting) and positives (for projection) will cease sales of the majority of its film products for movies. Specifically, that means both color and black and white positives and negatives, intermediate film, sound recording film, and processing chemicals (the latter only in Japan, for now) will no longer be available from the company — essentially a complete pull out from the market. Rather surprisingly, Fujifilm thought it necessary to reaffirm that it will continue to sell film for still photography.

The move comes in the midst of a continuing sea of change as filmmakers transition to digital cameras and a ever-growing number movie theaters stock digital projectors in place of film. As digital movie cameras like those from frontrunners Arri and RED have increased in quality, the cost, size, and convenience savings offered by digital have swayed filmmakers. There are still holdouts, and purists will continue to stick with film, but for Fujifilm it was clearly a business decision. It says it couldn’t keep production costs low enough in the face of severely dwindling demand to maintain the business.

Fortunately, Fujifilm will continue to offer its archival film — rated for 500 years — which is still one of the best ways to preserve movies for future generations. Additionally, the company will remain in the movie industry, offering its array of lenses for filming and projection as well as its on-set color management system. For those who want to continue to shoot on film, there are still options out there, but the loss of a major player isanother clear sign that the industry is moving on.

source:  http://www.theverge.com

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In the second part of our look at the uptake of digital technology in the movie business we explore filmmaking innovators who are taking digital filming and post production to new levels of excellence.

Filmmakers and post-production specialists are breaking new ground in visual storytelling facilitated by the increase in technological capabilities during acquisition, post and exhibition. The advances in Stereo3D are inextricably linked to developments in digital capture: James Cameron pioneered shooting on digital cameras that were custom built for Ghosts of the Abyss – the first feature length 3D IMAX production released in 2003. Then Avatar set the bar for 3D features; however Vince Pace, co-chairman of CAMERON | PACE Group recently told The Hollywood Reporter that they  “were experimenting with Avatar” and that they “could have gone further, but we wanted to make sure we found ourselves somewhere in the middle of concentrating on a good film and focusing on 3D elements. We didn’t want to compromise the actual film by taking away from the story for the sake of 3D.”

Pace continues to state that Martin Scorsese’s Hugo does far more than Avatar to showcase 3D filmmaking’s full capacity due to Scorsese not forcing elements of 3D but instead molding it to get maximum effect from the artists and the creative team’s vision. The technological advancements in S3D that have been made since Avatar also enabled the Hugo team to utilise bespoke systems and equipment to watch high quality stereo dailies, perfect the acquisition of stereo on set and finish Hugo to such a standard the stereo grading contributed to Scorsese earning a ‘Best Director’ nod at this year’s Golden Globes.

We asked Jonathan Tustain, Editor of leading website 3D Focus, to give us his take on future advances in the digital pipeline. “No doubt higher frame rate projection will become commonplace over the next few years thanks to influential directors like Peter Jackson and James Cameron filming big budget movies like The Hobbit and Avatar 2 at 48 frames per second. Cinema chains will be able to upgrade their digital projectors with a simple software update and, like 3D, the improved picture quality, particularly during fast motion sequences, will be marketed to draw audiences in.”

Digital drives quality

Stereoscopic 3D is not the only aspect of digital that is evolving on our cinema screens. As previously mentioned in part 1, 4K digital cinema projection systems are gathering momentum in the US/Europe with audiences increasingly experiencing high resolution movies screened as the filmmaker intended the scenes to be consumed in theaters.

The Girl with the Dragon Tattoo is one of the largest 4K movies to date, making up almost a quarter of a million frames at 45 megabytes each.  It was shot in 4.5k – 5K resolution on RED Epic MX and Epic cameras and was finished at Hollywood Post facility Light Iron on Quantel Pablo. The sheer volume of data captured needed twocolor correction systems working non stop to deliver a 4K DI 9 reels long which is the equivalent of around six 2K two hour movies. The end result, when seen on a 4K projector, is arguably another cinematic milestone demonstrating the amplified creative / visual control for the filmmaker and a higher standard of picture quality for the movie-going public.

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We spoke to Michael Cioni, CEO of Light Iron. He explains why he feels that his data-centric post house will continue to work on more productions like The Girl with the Dragoon Tattoo. “My experience with most archetypes on the set has been the common desire to incase creative control. Creative control of the crew, control over the studio, image capture, performances, editing, art direction and even the overall pace of shooting are all things filmmakers tend to want to have creative control over. Yet film as a medium physically limits a degree of control in every category simply because you cannot inspect film until after it is developed. 18-48 hour delays are normal procedure for film review which presents a massive boundary around the evaluation component of creative control. In the upcoming documentary ‘Side-by-Side,’ director Christopher Nolan says ‘There isn’t yet a superior or even equal imaging technology to film.’ In my opinion, subjective interpretation of film’s benefits is not the issue that warrants discussion. From my perspective, it is becoming ever clearer that the simplicity of how work flows ultimately commands what format is adopted. For the average filmmaker this renders aesthetic opinions on the subject a lesser priority (I see this happening at all budget levels). In the hands of the masters, the apex of today’s digital cameras has breeched every measurable category that film used to champion as technically superior. In 36 months time, the gap will be so significant that this debate simply will not exist.”

The Case for Film

There are traditionalists and big names in cinema that are sill firmly camped in film’s corner. Steven Spielberg shot the acclaimed War Horse on 35mm and was recently quoted saying “I’m still planning to shoot everything on film. I guess when the last lab goes out of business, we’ll all be forced to shoot digitally and that could be in eight-to-ten years. It’s possible in ten years’ time there will be no labs processing celluloid.” Of course Spielberg has already dabbled with digital technologies and 3D with Tintin, albeit in a motion capture sense, however he stressed “It’s 100% digital animation but as far as a live-action film, I’m still planning to shoot everything on film… I love film.”

Christopher Nolan’s forthcoming conclusion to the Batman trilogy The Dark Knight Rises was filmed in 35mm and 70mm IMAX. Nolan resisted pressure from studio bosses at Warner Bros. to shoot and/or convert the final Batman in 3D. Quentin Tarantino is passionate about working with celluloid and from his remarks in the video below, like Spielberg, is not switching to shooting in digital anytime soon.

Filmmakers still have a choice when it comes to capturing and translating their vision for the big screen. But partly due to the rapid rise in digital projection, any motion picture captured on celluloid will almost inevitably end up being  digitalized anyway. We return to Light Iron’s CEO Michael Cioni, who sums it all up most eloquently:

“I don’t dislike film, but I do dislike unnecessary complexity. I think if film could be around forever, it would be used on some level forever. Because the art of story telling has infinite possibilities, the ways in which to tell stories should not be quantified into a single format or flavor. By this, I am in favor of film being used whenever deemed appropriate by those who are most comfortable using it. That can be anything from those who are seeking a desired texture or who have a creative preference, such as Mr. Nolan. But there is a bigger question here which presents the real root of the problem: it’s not whether people have a desire to shoot film; the question is whether or not film can afford to be manufactured at all. I predict that man’s desire to shoot film will far outlast the manufacturers’ ability to produce it. Thus, the ultimate decision will be made for us.”

http://blog.quantel.eu/2012/02/the-rise-of-digital-in-motion-pictures-beyond-the-tipping-point-for-film-part-2-of-2/

After a nearly six month hiatus, the 3D & DIgital Cinema is back on-line. I took a break to tend to some family struggles. Also the Spring semester was one bear of a session with over 40 Senior Thesis projects, 18 Grad Thesis and a whopping 36 Advanced Productions to attend to.

Thank you for your support and patience during what was a very difficult time.

- Scott Arundale
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P.S. We will be likely dropping the 3D moniker from our masthead as stereo filmmaking has become very much an integral part of the digital landscape. Also the industry (like the the mainstream filmgoing public) has cooled considerably towards because let’s face it, making 3D movies is more costly, time consuming and frankly a pain in the ass! And as my two lovely daughters remarked about their tastes towards 3D, they wisely observed that it was just a way for the theater to charge more!

That being said we will continue to report on all the trends 3D, 2D or something recorded on a mobile phone. It is all fair game.

After 120 years of entertaining audiences, countless movies and pioneering works on the format, celluloid 35mm film looks to be on the way out as the industry picks up the pace to adopt digital for major motion picture capturing, post and distribution.

This month, the IHS Screen Digest claim that 63% of the world’s cinema screens will be digital compared to 2010 where 67% of global screens were still projecting 35mm. This dramatic increase highlights the speed at which the industry is moving toward to digital innovations.

“Since 1889, 35mm has been the principal film projection technology, however, after 10 years of market priming, movie theaters now are undergoing a rapid transition to digital technology, spurred initially by the rising popularity of 3D films,” said David Hancock, head of film research at IHS.

The rise of digital in distribution

Star Wars: Episode 1 – The Phantom Menace was the first major motion picture to be released in digital on June 1999, albeit on a limited number of screens in Los Angeles and New York. In the UK the roots of the digital incursion go as far back as 2005, when 240 digital projectors were given to UK cinemas thanks to the UK Film Council’s Digital Screen Network initiative. Initially, the digital uptake was slow. It was not until 2009 when digital’s prominence became apparent when, for the first time, eleven 3D productions were released and could only be screened with digital projection technology. However, in late 2009 a game-changing event changed the course of digital cinema adoption – Avatar.

James Cameron’s 3D blockbuster demonstrated that what was once a novelty viewing experience could create a viable case for upgrading theatre projection technology to capitalise on audiences’ new found appetite for 3D productions. Jean-Pierre Beauviala, founder of French based motion picture equipment manufacturer, Aaton claims that stereoscopic 3D has “accelerated the demise of film.”

This could mean a real embarrassing viagra best occasion available on all your workplace while well as faculty, uncomfortable environment might house, etc. Wash with a viagra buy australia mild shampoo. Erectile dysfunction is a condition that afflicts many ordine cialis on line men in the world. For years, people have been hearing and learning about techniques on how to control the sensations which lead to ejaculation. order viagra 2010 saw a rapid succession of announcements by major multiplex operators in the UK  switching over to digital. Vue Entertainment, one of the UK’s leading operators of multiplex cinemas, partnered up with Sony Europe to install 4K Digital Cinema Projection Systems across its estates. “The transition to all digital screens heralds a new era for cinema offering greater choice…[and will] deliver the very best possible cinematic big screen experience for our customers,” said Tim Richards Vue’s CEO.

In North America the rollout of 4K digital was announced earlier than Europe, however the conversion pipeline is estimated to take up to five years to implement. The biggest theater operators in the land – Regal Entertainment and AMC both signed deals, like Vue, with Sony to install 4K digital technology to a over 850 theaters, comprising 9,628 screens.

Digital from scene to screen

Digitalization is not only experiencing substantial growth in theaters. The progression from celluloid has not happened in isolation but in unison with the introduction of digital throughout the motion picture pipeline. Over the last few years, Digital Intermediate has firmly established itself as the standard workflow for post production. In production it’s the same story. In the last year ARRI, Panavision and Aaton have scaled down their production of film cameras and have strategically aligned their business on the innovation of digital cameras.

This industry-wide shift has affected the biggest players in the image capture business. Eastman Kodak, the iconic 133-year-old photography firm synonymous with film, has seen its profitability deteriorate due to falling revenue from traditional film. However, after unveiling a new, simplified business plan to focus the company’s efforts on its digital offering, its shares briefly rose up 46%. The strategy was not enough to keep the firm out of the headlines and in mid-January Kodak filed for bankruptcy protection from its creditors.

Ted Schilowitz from RED Digital Cinema, a camera company that has been digital since its inception in 2005 points out that “you’ve got to be respectful of what film’s brought to the industry. None of us would be at the level we are at now without Kodak, so you’ve got to give credit where credit is due.” Having said that Schilowitz continues “film is becoming less used as it’s reached its retirement age.”

In the second part of our look at the rise of digital, we examine trends in filming and post using the format and speak to industry heavyweights on pushing the boundaries.

http://blog.quantel.eu/2012/02/the-rise-of-digital-in-motion-pictures-beyond-the-tipping-point-for-film-part-1-of-2/

Chris Foresman reports from arstechnica.com:

Following the controversial launch of Apple’s completely revamped video editing software, Final Cut Pro X, Avid Media has announced (hat tip to MacRumors) that award-winning TV production company Bunim/Murray is dropping Final Cut Pro in favor of a complete Avid makeover. Going forward, the company will use Avid Media Composer and Avid Symphony for editing along with an Avid ISIS 5000 networked storage system to replace its current Final Cut Pro workflow.

“Due to the large volume of media generated by our reality shows, we needed to re-evaluate our editing and storage solutions. At the same time, we were looking for a partner who would understand our long-term needs,” Bunim/Murray’s SVP of post production Mark Raudonis said in a statement.

The message between the lines is that Apple’s latest offerings simply won’t (ahem) cut it anymore. Earlier this year, Apple completely re-architected Final Cut Pro X from the ground up with a new, modern media handling framework as well as 64-bit support. In doing so, however, it dropped many features that editing pros had come to rely on in their workflows. Apple also dropped its Final Cut Server product after phasing out its Xserveand Xserve RAID storage products over the past few years.
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The decision has left many working pros wondering if Apple cares much about the professional market anymore. And, while the company has promised to improve Final Cut Pro X over time, those promises apparently weren’t enough for Bunim/Murray and others who have since migrated to competing solutions from Avid and Adobe. Let’s just say we don’t expect this to be the last we hear about major production companies making the switch.

UPDATE:  12/31/12

Apple has updated the latest version of its video editing software, Final Cut Pro X, addressing some of the complaints video editors had voiced when it was released last June. The updated FCPX now includes multicam editing and advanced chroma-key controls, and supports a new tool for opening up old Final Cut Pro 7 projects.

http://allthingsd.com/20120131/apples-updates-final-cut-pro-x-addressing-video-editors-complaints/?refzone=topics_apple

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Broadcast equipment manufacturer Grass Valley has introduced a new 3D toolset for its Edius multiformat nonlinear editing software.

“We see 3D production and post projects increasing around the world,” said Charlie Dunn, executive vp products at Grass Valley. “Now anyone working on an Edius system can instantly add 3D post capability to their arsenal of production tools and generate new revenue by expanding their client base.”

In September, James Cameron and Vince Pace’s Cameron | Pace Group and Grass Valley entered into a strategic alliance aimed at expanding the use of 3D in the broadcast industry through technology development.

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In December, a 30-day preview of the 3D version of Edius will be available online for testing purposes.

source: hollywoodreporter.com

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