![Use the tools provided. Late last night, when I set exporting and compressing going, I could have scrubbed through the thumbnail in the Export pane and maybe noticed the logo was missing. But I didn’t do that. I regarded the thumbnail as a stylish redundancy - a nod to iMovie - and ignored it. Use the tools.
[The image shows what I should have done.]](http://25.media.tumblr.com/tumblr_m2exqySmED1qdpmrwo1_500.jpg)
Use the tools provided. Late last night, when I set exporting and compressing going, I could have scrubbed through the thumbnail in the Export pane and maybe noticed the logo was missing. But I didn’t do that. I regarded the thumbnail as a stylish redundancy - a nod to iMovie - and ignored it. Use the tools.
[The image shows what I should have done.]
Use Multicam in Final Cut Pro X to change an effect applied to every instance of a clip at once.
(Source: alex4d.wordpress.com)
Final Cut Pro X - Move the connection point of a Connected clip in the Timeline
Hold the CMD+ALT keys and click where you would like the connection point to be.
(Source: fcpx.tv)
Gamma: FCPX - QT7 - FCP7
A frame of the same movie shown in Final Cut Pro X, Quicktime 7, and Final Cut Pro 7.
Traditionally, FCP7 would display movies differently than QT7 because it was emulating for TV or something. And then Quicktime would alter the gamma again when we compressed for the web. It was confusing and led to guesses at overcompensation, for example, making the images too dark and colourful, knowing at the next stage the life would be bled from them, rendering them as lifeless the husk of an image, grey and thin like dead skin. The horror. The horror.
So it’s nice FCPX sorts this out.
(Granted, I haven’t tried editing anything for TV with FCPX. I expect it just translates when it encodes a TV-based format like Mpeg IMX.)
Read more from Apple on gamma.
(Source: premiumbeat.com)
Watch your levels on the web!
Evidence that you really need to watch your levels on the web. In the past I didn’t think it was necessary. 100 IRE is just for TV, I thought.
Wrong. Vimeo, for one, clamps the signal in a less than friendly manner, pushing the entire image down into darkness.
In contrast - sorry I don’t have a picture for this - you can throw a broadcast-safe filter on the video which will compress the levels with no perceptible change in the image. And Vimeo’s compression will produce an image that matches Quicktime.
I’m not sure if it’s FCPX or Lion, but it seems there is no longer any kind of gamma shift anywhere through the process of compressing an Mp4 file or compressing on Vimeo :-)
Andrew Balis provides an in-depth view of the FCPX timeline, including comparisons of tasks with Final Cut Pro 7 and Final Cut Pro X. About 50 minutes.
(Source: vimeo.com)
FCP X Audio Tutorial Part 3: How to Create Keyframes and Use the Range Selection Tool to Adjust Sound Levels
Have you ever looked at something you did the day before and wondered how the hell you did it? All the familiar knobs and dials suddenly look like the cockpit of a 747.
FCPX is almost unusable for me now. It reminds me so much of Motion, it’s uncanny. It eats all my RAM, leaving 15MB free. It beach balls all the time. It crashes constantly. A mistaken click can cost 30 seconds of patient waiting. I restart often. I’ve ordered 8GB of RAM.
FCPX is dying on an iMac 2.93Ghz Core 2 Duo with 4GB RAM working on ProRes proxy files (960x540). Switching from H.264 HDSLR footage to ProRes proxy doesn’t seem to make much difference, despite being 1/4 of the size. Perhaps the problem has just gotten progressively worse.
(It’s been beach balling since I began typing.)
I can’t believe Apple killed Color. From Peter Wiggins via Alex4D
That’s so mean. What are we going to use for grading now? Magic Bullet, I guess, when it works in FCPX. Does Magic Bullet have tracking? Is Collorista II the more full featured app?
This has actually shaken my trust in Apple more than the release of FCPX did. It’s great Pros with other legacy requirements are being placated. But now Apple has messed with MY workflow. G-buzz.
Maybe Apple don’t have any significant plans to push digital film production and distribution.
I was actually hoping for better integration across the board. I would really like an app that treated video and audio and sound and music and motion graphics and visual effects as integrated layers of media. Each layer should perhaps each have a dedicated tool, but integrate at the level of the audio/video hub.
I really want an app to create videomusic like this, but I don’t honestly think a day will ever come where visuals and music are not kept in separate silos (that don’t integrate very well). I don’t think we get the full impact of what digital means yet.
I rely on Final Cut, Color, and Soundtrack for sound and Logic for music. It’s clunky. Old fashioned. Complex. Inflexible. Destructive. A bit stupid. A bit obsolete.
bradbell.tv
