Friday, August 19, 2011

Final Cut Pro X Information & Resources 19

It's been a couple of weeks since I've updated the list of new Final Cut Pro X resources, tutorials and opinions. Here's some of what's been going on:
How to Sync FCP X Effects Across Multiple Machines using SugarSync | FCPEffects
Not sure if this has been noted here before, but an interesting solution for syncing installed effects across multiple machines.

How to Share/Copy a Final Cut Pro X Project | FCPEffects
Here's another tip that explains how to share Projects

FCPX Sharing? Sure you can... | Steve Modica | CreativeCOW
Mark Ferris of Blue Ox Pictures also explains how to share Events and Projects on shared volumes.

Other News
Developers to get XML code from Apple in 2 weeks | Sean Cole | CreativeCOW
Though Apple promised some XML code to developers by now, they still haven't received it.

Need to Get Your Whole Team Using FCPX? | Liz Sunter | Jigsaw Broadcast
11 to 20 user license pack: all 20 copies on a single account - and your users don't have to use their own credit card details to download, so ownership of all your licenses stays with the company, rather than any individuals.

Plug-ins & Tools
Movie Preview Rating Title Template |
Currently on sale for $.99 (regular $9.99) Use this title template to create a movie preview rating title in seconds. You control what it says and the background color.

Muzzle Flash Plugin |
HD quality muzzle flashes that are: "pre-keyed, extremely realistic & incredibly easy to work with!" Over 15 side & front angle flashes. Cost: $24.00

Free FCPX Plugins and Templates |
An ever growing list of plug-ins and templates for Final Cut Pro X.

Magic Bullet Looks 1.2 | Red Giant
Red Giant announces and ships their first Final Cut Pro X compatible plug-in. It's available at a discounted price for a limited time.(This week only)
Meanwhile, Stu Maschwitz reports that adding support for their other products isn't so easy:
That turned out to be a lucky move, because so far it’s almost the only Magic Bullet plug-in that Final Cut Pro X can support. Both the graphical controls that Colorista II uses and the dense “custom data” blocks that Magic Bullet Looks relies on are victims of bugs or shortcomings in the initial release of FCP X.
Prolost: Magic Bullet Mojo for FCP X

Logickeyboard proudly presents the new FCPX keyboard | logickeyboard
Logickeyboard custom keyboard for Apple Final Cut Pro X, is based on the original Ultra Thin Alu Apple Pro keyboard. It offers plug-and-play setup with any current or recent USB-equipped Macintosh computer, with good feel and stylish, modern appearance that match the "new Apple look".. Cost: $114

mlooks for FCP X | Motion VFX
A collection of 60 FCPX/Motion 5 Grading Effects, available for $39

Feature Requests
FCP X road blocks | Oliver Peters | Digitalfilms.wordpress
A short list of things that Oliver thinks FCP X needs changed or added. The list includes: Rolling audio edits, Multiple trim points, Multiple mono audio channels, Manual organization of bins and projects, and more.

Some FCPX Road Blocks and More | Scott Simmons | Studio Daily
Scott adds to Oliver's list of FCPX limitations, adding: Only nine keyword shortcut slots, No way to skim clips in the iTunes browser, Clips don’t retain IN/OUT, START/END markers, and more.

Top 35 Requests for Final Cut Pro X | Richard Taylor | FCPX.TV
This list has just been updated on August 2nd.

How To Record Quick Voiceovers In Final Cut Pro X | Danny Greer
The FCP Voice Over function has been updated from the previous version with new features including the ability to assign the recording to a particular event and to monitor audio when recording.

Top and Tail Editing Now Available in Final Cut Pro X | Ashley Kennedy
Top and Tail editing allows you to instantaneously lop off either the beginning or end of a clip, which is a great way to quickly assemble B-roll, especially for news and documentary projects.

Final Cut Pro X: A Look From Past to Present to Future (Complete Footage)
| Tekserve | YouTube
Evan Schechtman of and Outpost Digital takes a look at the history of digital video editing—with a particular focus on Apple's Final Cut Pro X, and how this just-released software sets the foundation for the industry's next big revolution.

Andrew Balis talks about the FCPX timeline |
Two videos from the Moviola Arts Institute featuring Andrew Balis. The first is quite a bit of introduction, but the second gets 52 minutes of chat about the FCPX timeline.

Final Cut Pro X (FCPX): a Multicam workflow follow-up: more clips, more tips
| fxmah | YouTube
A demo using 9 video clips on the timeline and demonstrates a shortcut for mixing down those clips into the storyline

Optical Flow in Final Cut Pro X | Connor Crosby | Final Cut Whiz
How to smoothly slow down and speed up video.

The Magnet Timeline -- Thoughts on Apple's New Paradigm | David Lawrence
| CreativeCOW
David Lawrence explores one important aspect of Final Cut Pro X:
I set out to understand just exactly what Apple had done to a tool that, for many of us, is the cornerstone of our livelihoods. The changes in FCPX are broad, deep and many. This article will focus on just one aspect of these changes -- the main NLE editing interface an editor uses for the bulk of their work -- the timeline.

Fed Up with FCPX? Join International FCPX Refund Request Day | Scott Simmons | Studio Daily
An update on an attempt to organize a mass Refund Request for August 29.

Why I’m Scared of FCP-X | Misha Tenenbaum | Mishapost
An interesting post about FCP X that ponders the future of video editing.
The point is that producers still need the story teller. The tools alone do not write the book, edit the movie, or present the presentation. However, and this is a big however, technology doesn’t feel emotional pain when it becomes obsolete, but people do. I’ve read a lot of blog posts on FCP-X telling people to suck it up and embrace the inevitable. But to be honest, I was terrified.

It’s all about Puppets | Robert | digieffects blog
An interesting perspective on moving towards the mass market, as well as an interesting story told by Josh Mellicker of on who the typical Final Cut Pro user might be:
So he asked “Well then, what kind of movies do you make?” One guy said “I do training videos for our company. We make giant batteries.” Another said “We make videos that teach people how to make puppets.” And a third, “I shoot video every year at the annual conference for remote-controlled aircraft builders.”

Evaluation: Final Cut Pro X vs Adobe Production Premium | Von
| Huckleberry Film Studios
An explanation on why this studio is moving to Adobe:
When we purchased our first copy of Final Cut Pro at Huckleberry, we paid $1800/seat, and we knew it was worth vastly more. For years, Adobe has been playing catch-up with their editing suite to better compete with Final Cut Pro, and many feel that with the 2010 release of the Adobe Production Premium Suite 5.0, they surpassed Final Cut.

My First Adobe Premiere CS5.5 Experience – From a Final Cut Pro Refugee
| Bill Vincent | New Media Musings
Bill writes about his switch to Premiere, and his experience with a first project:
Overall, I’d say my first experience with Premiere since the late 90’s was pretty good, with some caveats. Just as FCP is native to the Mac, I really believe Premiere has been really tweaked and primed for the PC. It does run on a Mac, but not as smoothly as FCP for roughly the same amount of hardware investment. I don’t have the CUDA graphics card (one of only three that are actually approved for Mac use) that would give me the extra graphics acceleration, and I think without that it’s always going to be a bit on the rough side regarding playback, especially if effects are involved.

Transitioning: An update on our new Paradigm | Walter Biscardi
| Biscardi Creative
An update on Walter's switch to Premiere Pro, along with answers to some "problems" with Premiere that others have suggested exist:
I’ve read in multiple forums that “Premiere Pro has trouble with large projects.”  Based on this project transfer, I don’t see that.  Not sure how much larger of a project I can test than that.   I am definitely getting much more realtime playback in that project as well vs. what I would get in FCP, even using the ProRes codec.

Adobe Premiere Pro CS 5.5 For FCP Editors | Filmmaking Webinars
A free 90 minute webinar scheduled for October 20, 2011 @ 10:00 AM PDT to 11:30 AM PDT
If you are proficient in Final Cut Pro 7 and are considering the move to Adobe Premiere Pro CS 5.5, then this webinar is for you! You will learn the subtle and not so subtle differences in the every day tasks and workflows facing editors between Final Cut Pro 7 and Adobe Premiere Pro CS 5.5.

Exclusive interview: Adobe's Al Mooney on Final Cut Pro X, Premiere Pro, and the future of video editing | David Gewirtz | ZDNet
An interview with I Al Mooney, product manager for Premiere Pro. Al formerly been at both Apple and Avid.
While I can’t comment on Apple’s go-to-market strategy with FCPX, I can say that editors who need those kind of features will find them in Premiere Pro, and that is no doubt part of the reason why so many more people are giving our NLE [non-linear editing system] a try.

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