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07 Opinion
Apple powerhouse Hogarth Worldwide’s CTO Mark Keller’s first impressions on Apple Final Cut Pro X

08 Content Creation
Recent production stories from around the world using Final Cut Pro and Blackmagic products

Features 04
FCP X – under the bonnet Michael Burns provides the low down on the long list of new features and functionality offered by Apple’s revolutionary new Final Cut Pro X


Cost-effective post kit Adrian Pennington reveals how post equipment, from grading systems to editing workstations is more powerful and cost-effective

Rick Young
Editor – MacVideo www.macvideo.tv We’re now several months into the evolution of Final Cut Pro X. The 10.01 update is with us, bringing XML import and export and a host of other enhancements. Other essential features such as Multicam editing and broadcast monitoring have been promised for early 2012. It is clear that Apple is serious about making Final Cut Pro X a major force in the world of post-production. The product is aggressively priced, offers features which don’t exist in many of the competing products, and is scalable from SD to 4K. As the songs goes..”the future’s so bright I’ve got to wear shades.” The next wave is just gathering pace now, and this is Thunderbolt. A handful of Thunderbolt products are already available with many more to come. When the wave truly hits, with Final Cut Pro X and Thunderbolt working together, then expect to see some real action. Then we will see screamingly fast transfer of data, access to many devices over a single cable, and less bottlenecks when accessing multiple streams of video.

than it’s ever been before


Building your own edit system A practical guide to the best post products for creating a powerful, fully featured editing workstation on a costconscious budget


Training and skills Final Cut Pro X underlines the need for ongoing training to quickly master its new features. Jake Bickerton talks to training providers in the UK and Holland about gearing up for FCP X


Review: Final Cut Pro X Should you upgrade now? Find the definitive answer here

Editor Rick Young Designer Julie Morton Editor in Chief Mark Hattersley Publisher Mustafa Mustafa Contributors Randi Altman, Micheal Burns, Stèphane Malagmac, Adrian Pennington, David Wood Commercial manager Selen Sevket Managing director Kit Gould With thanks to Blackmagic Design All rights reserved.


It’s an entirely new flavour of Final Cut Pro that’s a very. more complex effects can play in real-time during the creative process.LIF TING THE LID ON FCP X Under the bonnet of the new FCP Apple’s long anticipated update to Final Cut Pro X has finally been unveiled – it’s an important release to the brand new Final Cut Pro that’s an almost entirely different beast to FCP 7 and fixes a lot of issues “FCP X doesn’t have a viewer. Final Cut Pro X also utilises the GPU and memory on the graphics card for far more video clout – you can render multiple layers of super high definition video. Richer. in each case FCP X uses this information to build Final Cut Pro needs little introduction. transcoding. Final Cut Pro X is not the software you are used to. medium shot or wide shot. so you can get on with the main task of editing. so the presence of a set of tools for footage analysis and categorisation are to be welcomed. People Detection can identify if you have a single person or multiple people in the shot. while Shot Detection determines whether a shot is a closeup. Colour. and a modular structure for applications such as Motion 5 and Compressor 4. no matter what hardware you are using in the process. and a shared rendering engine between Motion. very different editing system to Final Cut Pro 7. This Content Auto-Analysis comprises of several processes. 4 Final Cut Pro X It’s been rebuilt and reengineered from to take full advantage of the latest Apple hardware and Mac OS. Furthermore. this shared architecture renders commonly used effects such as blurs. scales and blends in linear-light colour space for exceptionally realistic results. meaning more access to greater amounts of RAM and more power to your editing . A Content Auto-Analysis workflow starts immediately from the time you import your media from the original memory card or hard drive. Compressor and the main application enables Motion templates to play back in Final Cut Pro X without rendering. enabling creative video editing at an affordable price on powerful Apple Mac computers. exporting and moving media now take place in the background. all metadata about the clip (frame size. Apple’s non-linear editing tool has revolutionised the market for film and broadcast post production. For a start this software is a 64-bit native application. allowing you to just get on with the main task of editing. In Media Detection. resolution independence lets you mix and match formats and frame rates all the way up to 4K. frame rate and codec etc) is analysed and used by Final Cut Pro X for media management. So it’s big news when such a product as Final Cut Pro undergoes such a radical change as has happened with Final Cut Pro X. Shaky segments are identified. through the direct implementation of ColorSync within Final Cut Pro X. then fixed with instant results while you edit. It pumps tasks round the system to take advantage of all available CPU cores and can also make use of the new AVX capabilities of Intel’s ‘Sandy Bridge’ processor found in the latest Macs. an essential factor in any visual art. It’s 64-bit. synchronised scopes. With a new lower price. it’s been rebuilt and re-engineered from the ground up to take full advantage of the latest Apple hardware and Mac OS. Processor-intensive tasks such as rendering. Meanwhile. which in real terms means more access to greater amounts of RAM and therefore more power to your editing. This ensures accurate and consistent colour from import through render and export. New Direction Make no mistake about it. It runs in the background however. for example. or playback HD footage on a full screen Canvas with finely rendered. has been put at the centre of the workflow of Apple’s new look editing system. it has a smarter Canvas that auto changes depending on what you’re working on” New workflow Organising clips and adding metadata are among the most time consuming tasks in the workflow.

10. and Xsan integration. When it comes time to export. Final Cut will only look for the tags specified.1 Available as an update through the App Store. and graphics. full-screen mode in Lion. which enables manufacturers to ship a product that will be fully compatible with FCPX from the start.1 adds several muchrequested features.0. One of the biggest complaints from professionals—Final Cut Pro X’s lack of XML support. like Blackmagic’s DaVinci color correction software. intelligent stem export for both video and audio files using a new feature called Roles. Color Balance analysis offers huge time savings. Despite the minor incremental update number. the update also offers intelligent stem export from project timelines using FCPX’s new Roles feature.LIFTING THE LID ON FCPX “Final Cut Pro X represents a new way of tackling the technical challenges in video editing” ‘Smart Collections’ in the Event Browser. putting markers all through the clip or trimming it repeatedly to create subclips of the parts you’re interested in. then enabling you to balance tones at any point during editing with a single click. a new theme. Final Cut Pro X certainly seems to represent a new way of tackling the technical challenges in video editing. but rather than having to individually disable and reenable tracks to extract the correct files for a particular post-production workflow. its inability to interact with outside programs—has been fully addressed in the 10. Final Cut Pro X 10. Other processes tackle common problems. such as excessive audio hum and background noise. offering access to both raw source materials (events) and timelines (projects). video. and projects.1’s improvements go beyond just XML and stem support: As mentioned above.0. According to Townhill. you can go through the whole shot and just apply keywords to selected areas of interest – making it really easy to search for the shot later.1 release. 5 . one-step transitions for connected clips. Moving forward with 10. which is a real timesaver A new dawn This is just a brief overview of the features in this reboot. including support for full XML import/export of both project and event information. and thus. an editor can tag various content as “Dialogue” or “Sound Effects” as they go.0. Final Cut Pro X Editing is simple and intuitive in Final Cut Pro X – when you drag clips. or the warping Rolling Shutter effect typical in lighter-weigh cameras. and of enabling filmmakers to focus on creative storytelling. editors can remotely collaborate on footage. and more to come.0. by determining the colour of your clips during import. integrating it with existing products. events. third-party developers like Square Box Systems and Blackmagic have been experimenting with beta versions of FCPX’s new XML interchange. gaps open up in the timeline to edit those clips in place without messing up the audio sync. and projects using Xsan. The rebuilt architecture of FCP X also enables Apple technologies such as Core Animation to make working with footage far more responsive and interactive. which FCPX now supports. GPU-accelerated export. With all this power in place. as can finding clips that have been copied into bins across your project. events. simplifying the process. Using this. allowing editors in different locations to work with the same files. Adding custom metadata can be another time-consuming process. Rather than setting in and out points. The new range-based keywords feature aims to address both bottlenecks by letting you tag time-based selections of clips with custom keywords. editors can export audio. In concert with XML support. Also included is support for timecode start customization. and a camera import SDK.

. 2 built in media players. graphic wipe and stinger transitions! Load clips into the 2 built in media players for exciting custom animated stinger transitions! ATEM includes a built in DVE with 3D borders. pattern. Full 2 RU ATEM switcher chassis includes Mac and Windows control software. 1.. The multi view includes SDI and HDMI. preview and program to be viewed on a single SDI or HDMI monitor.575* £3. DVE.145* £ Learn more today at www. plus down converted SD-SDI and composite video. all built into a familiar M/E design that’s fast and easy to use! With an advanced broadcast SDI based design. wipe. plus you get 3 aux outputs. HDMI. dip.Welcome to the most exciting way to create television programming. ATEM even uses an FAA certified operating system for a high reliability broadcast grade design. Live switching multiple cameras is the lowest cost and fastest video production possible! Live Creative Power Get the most creative solution for live switching. each with independent chroma. graphic wipes. Live! Introducing the world’s most advanced live production switcher! ATEM switchers include advanced technology and powerful features.0. anywhere! *SRP is Exclusive of VAT More Connections ATEM includes loads of SDI and HDMI connections for professional SDI cameras or HDMI consumer cameras! All inputs feature re-sync so you can plug in anything! You get 6 program outputs in SDI/HD-SDI. light source and drop shadow! You can even use the DVE for transitions! Incredible Features Only ATEM includes 4 upstream keyers. ATEM also includes HDMI connections for connecting HDMI consumer cameras or computers! The new ATEM has been totally redesigned with Blackmagic Design technology and quality. HD component and USB 3. Built to Perform ATEM uses a familiar M/E style of operation so you get an instantly familiar workflow that’s fast and easy to use. so ATEM is perfect for portable location use! Now you can cover any live event. with cut.blackmagic-design.com/atem . ATEM 1 M/E Production Switcher ATEM 1 M/E Broadcast Panel Traditional M/E style broadcast quality hardware control panel. 2 downstream keyers. shaped and linear keying. DVE transitions and more! The built in multi view allows all cameras. ATEM includes a software based control panel for Mac and Windows! If you need a hardware control panel then simply add the ATEM 1 M/E Broadcast Panel for a true broadcast grade solution. mix. stinger transitions.

” The Hogarth team are particularly keen on FCP X’s new ‘Match Color’ feature. for example. very fast and it makes full use of the graphics card and processors An awful lot of thought has gone in to re-engineering the editing experience It lays the foundation for the environment we’re going to be working in for the next five or 10 years clips on reversioning jobs. Mark advises on workflow techniques. but a brand new paradigm for editing” 7 . CTO. a WPP Group company. “That was quite a shock. that an awful lot of thought has gone in to effectively reengineering the editing experience. Hogarth Worldwide Keller on FCP X. that can then be directly accessed from Final Cut Pro X.” “It’s clear [Final Cut Pro X] isn’t an evolution of Final Cut Pro 7.OPINION The beginning of a new chapter in FCP Mark Keller.” Keller says he found the new clip browser ‘quite startling’: “We run big workgroups so were really into tagging and descriptive metadata. post production facility. offers a unified production and approvals system. hardware specification. It lays the foundation for the environment we’re going to be working in for the next five or 10 years. but a brand new paradigm for editing.” continues Keller. especially when having to match ungraded and finished A certified Apple solutions expert consultant. and the clips they’re looking at on the left hand. ” says Keller. and they make their edit decision based on that environment.” says Keller.” he explains. The tighter integration and shared rendering with Motion is also another big hit. It’s very. designed to distribute advertising material across all media globally. It can have time-based metadata as well. is really important – you can just keep editing while it happens and obviously rendering is so much quicker now. at least as Hogarth Worldwide is concerned? “The fact it is brand new and has been completely rewritten. The company has around 350 Macs. It’s clear it’s not an evolution of Final Cut Pro 7. but it’s clear once you’ve sat down and used it.. So what does Keller believe is the very best aspect of the new version. As chief technology officer for Hogarth Worldwide. for example. His first impressions? “It is completely new and has a radical new interface. Keller is tasked with the design and operation of the technology systems for the company Mark Keller.” When it comes to Final Cut Pro X’s newly designed interface. Keller was responsible for the architecture of the Digital Lab. “Final Cut Pro X doesn’t have that. Background rendering. Chief Technology Officer Mark Keller was one of the first professional FCP users in the UK to be given a serious look at Apple’s revolutionary Final Cut Pro X. It has other layouts – dual screen views. But clearly all the ‘muscle memory’ that’s been built up will need a slight amount of retraining. systems integration and the physical layout of production environments. it has a huge amount of potential and it’s just really sensible. Keller says: “The interface is quite unusual. so you can span a set of frames and describe that set.” “It really takes maximum advantage of the hardware. chief technology officer at global Appleequipped ‘advertising implementation agency’ Hogarth Worldwide shares his first impressions of Apple FCP X Advertising implementation agency Hogarth Worldwide Ltd.” he says. That’s great for us. “Apple has obviously paid an awful lot of attention to how Final Cut Pro X can extract as much metadata as possible from the raw files it is reading. Most editors are used to having the playhead on the right hand monitor. that pop up interactively depending on what you’re doing. rather than put markers all through the clip. ranging from the lightest Macbook Air to the most hardcore workstation you can buy. the world’s first in-Agency digital. It also allows you to enhance the metadata in a really sensible way. so to speak. tapeless. “The fact we can have lots of graphics artists working [simultaneously] on lots of Motion templates. very fast and it makes full use of the graphics card and processors.. drawing on 10 years experience as an online editor using Apple desktop systems Formerly head of post production at Abbott Mead Vickers BBDO. “It’s very. for us is really important.

Blackmagic’s Broadcast Videohub. Pampuri knows one key to success is to be present at the earliest stage of a workflow to better understand the potential issues: “The modularity of Resolve allows us to take it on location to produce dailies. 4:2:2 and 4:4:4 RGB. Whist says the edit platform’s most useful feature is its flexibility: “It works for us because we get a lot of work coming to us in different formats which we have to be able to mix and match in a timeline. “It’s completely fluid for the colourist. The result is a very realistic 3d image that’s particularly clear.” says Whist. Another essential component in the company’s machine room is broadcast video router. “It is software-operated so you can sit on any editor on the network and pick your resources and destinations. to Final Cut Pro X: “Our clients are already testing it and it looks promising. Today. ingest. reliable and gets the job done.” Les Machineurs has had early experience of 3D stereoscopic productions.” Like many Final Cut Pro-based facilities. For video capture. which are 2D and 3D capable and can switch between SD and HD with built in 3Gb/s SDI. which is to democratise quality with a powerful set of post production tools. “We’ve used DaVinci Resolve since its first release and look forward to seeing what version 8.” he adds. technical manager at Oslo-based post house Media Netwerk. Whist uses Blackmagic’s DeckLink Extreme 3D video cards. above all.” says Pampuri. The integration of Final Cut Pro Studio with the Blackmagic Design product line is part of Les Machineurs’ ethos. has installed a post production set up based around Final Cut Studio and Blackmagic Design HD Extreme 3D cards to handle the large number of sports productions and promos required by European broadcast clients such as Viasat and Canal+. Key advantages The pricing of Blackmagic Design products. “We use it as it is competitively priced. which is crucial for the following steps of our work. meant the company was able to “democratise quality” in its offering to its client base technology fan. we need to manage images from multiple camera formats and an advantage of Resolve is its ability to manage the multi-layer editing and XML import/export with Final Cut Pro Studio. there is no other solution to manage 3D stereoscopic work at this price and with this quality. Emmanuel Pampuri set up Les Machineurs in 2006 to specialise in digital cinema and offer everything from camera rental through to full post production services.” comments Whist. monitoring and playback purposes Hans Jørgen Whist. unveiled at NAB 2011. which Les Machineurs believes provides high quality at a very reasonable price. hundreds of individual points of an image can be scanned so the image is perfectly aligned between the eyes.” “We use DeckLink because it is competitively priced and gets the job done” Director.CONTENT CREATION | COMMERCIALS AND FILM SPORTS PROMOS awaiting its latest upgrade. It’s flexible and gets the job done. will give us as improvements. We like it because it’s very flexible. where again it believes Resolve comes into its own: “With Resolve’s automatic FILM AND COMMERCIALS alignment tool. Media Netwerk operates nine Final Cut Studio seats linked by an Xsan storage area network for his Mac-based operation – he’s found Final Cut Studio the easiest platform to manage and administrate. and. and native 12-bit video offering frame rates right up to Key advantages Blackmagic DeckLink Extreme 3D video cards can handle a wide range of formats from SD to HD and 3D with 12-bit video up to 1080 p60. monitoring and playback from virtually any video and audio device. Media Network is eagerly 1080p 60. “On commercials shoots. Currently running version 7. producer.” he adds.” says Pampuri. which is ideal for Media Netwerk’s ingest. “There is no other solution to manage 3D stereoscopic at this price and with this quality” 8 .

giving him guidance” 9 . which allows me to do a lot of detailed work. and there is no downtime for me. and so does the guy in the next room doing visual effects. whereas before it was more prepping or rendering. “It allows us to be really flexible – with the time crunch we have on episodic television. “I could tell what it would look like if they go warm.” reports Woodard. Sony F900. Now once I bring in a file I am ready to go. making regular communication with NCIS: Los Angeles director of photography Victor Hammer essential for Woodard. Next season things will become even more streamlined thanks to the upcoming release of Resolve 8. post.” adds Woodard. and consulting company DigitalFilm Tree. so the look of the series changes from episode to episode. It’s great because it means I can spend more time on a scene or a shot. Woodard can pull up the edit to see what the DoP’s intention was for a particular scene. Woodard calls the show’s post production workflow ‘streamlined’ as DigitalFilm Tree’s Resolve runs on the same operating system as the online edit. being able to stack as many nodes I need is important.” he says. The real-time performance capabilities are awesome. if they go cool. NCIS: Los Angeles shoots on many different cameras — including the Arri Alexa. “The DoP and John Mills. It also became a guide to how to shoot a scene. JVC GY100 and Sony Go!Cams. including Mac OS X. we all have to be working at the same time. who is likely working on the same scene I am. Being able to have everything at real-time. and the performance I get off the Mac Pro is amazing compared to what I was working on even a year ago. and that is one of the biggest advantages of the Resolve. which presently processes all the formats internally. Woodard was able to pull up the edit to see what the DoP’s intention was for a particular scene. Currently. and recently completed the grade on NBC’s NCIS: Los Angeles.” Later in the process. making it well suited to a Final Cut Pro Studio workflow Key advantages The speed and efficiency of Resolve’s 3D tracker streamlines production time “In Resolve.” he says. The show is shot on location at many locales throughout LA. “We get all the various format files from set and uniform those for an offline file that we give Final Cut Pro Studio editors as dailies. his DIT. which provided essential guidance when it came to getting started on grading the raw files. “Broadcast show deadlines do not wait for color systems without real-time performance. which we used for the dailies. “I have instant access to all the files I need. “It’s very efficient this way. which is done on Final Cut Pro Studio. His tool of choice is Blackmagic Design DaVinci Resolve Software. Their offline editing codec is ProRes LT.” Its node-based grading enables a more flexible approach to colour grading Resolve works on a number of operating systems. Dealing with all these different formats creates an extra step in post for DigitalFilm Tree.” During post production on the Resolve.TELEVISION | CONTENT CREATION TELEVISION Patrick Woodard is colourist at Hollywood production. “The DoP comes in to review and we make refinements together. created a LUT on set. Canon 5D. and the system has a great 3D tracker. if they go saturated.” says Woodard.

often working through the night and up to the last minute before broadcast.CONTENT CREATION | COMMERCIALS AND FILM TELEVISION GAMING Oslo’s Monster Entertainment produces and posts Norway’s domestic versions of Idol.” The trailers can be seen on YouTube and downloaded from the Playstation Network. special highlights. along with the logging metadata.” explains Elliot Kidner. “The trend for 3D gaming is set to explode. We need speed for this enterprise and this is exactly what we have with this technology. and the edit stations have DeckLink HD Extreme cards.” explains CTO Paal Henrik Wagner. SEGA Europe has ensured it’s ahead of the game by creating 3D trailers for titles intended for Sony Playstation. “We spoke to Jigsaw Systems about our need to find a way of capturing games in 3D and ultimately editing and outputting in 3D and they recommended the Blackmagic DeckLink HD Extreme 3D card. “When we open up material in Final Cut we can instantly find all the clips associated with a particular contestant or judge’s reactions to begin assembly. “We typically run 12 Mac Pro suites for each show (eight for editing and four for logging and teasers/graphics). the marketing collateral which surrounds each release has to keep pace. Virtua Tennis 4 is the one Kidner is most proud of but the team has also created 3D trailers for Captain America Super Soldier. promos and short stings. and game footage can then be immediately captured “I was sceptical at first that 3D gaming would work but it is fantastic and lends a sense of realism to gameplay” 10 . the Monster facility contains a mammoth 200TB Xsan SAN. all the clips associated with a particular contestant or judge’s reactions can be instantly located The speed of Monster’s workflow is notably faster using Blackmagic Design kit Key advantages “We need speed for this enterprise and this is exactly what we have with this technology” Blackmagic’s DeckLink HD Extreme 3D card provided SEGA with the means to capture games in 3D and edit and output in 3D too. ENG footage is typically recorded on XDCAM HD422 and ingested with Sony PDW-U1 decks. “We plugged in the PS3 by HDMI cable into the Blackmagic card and captured game footage and replays of ourselves playing tennis. Key advantages When opening material in Final Cut Pro Studio. Stage performances are streamed to EVS servers and encoded in Pro-Res LT. An Apple house with 35 Final Cut Studio seats. SEGA’s multimedia and AV producer who oversaw the first non-Sony created 3D trailer for the game Virtua Tennis 4. We’re likely to need further investment in stereo-capable equipment to cope with demand. The PS3 plugs into the DeckLink card using an HDMI cable. large enough to accommodate the significant throughput of data on these giant projects.264 proxies are automatically made on ingest which. “I was sceptical at first but 3D gaming is fantastic and lends a sense of realism to gameplay. Thor: God of Thunder and several others. Norway’s Got Talent and The X Factor for commercial broadcaster TV2. H. means the production team can get to work compiling edits for full shows as well as inserts.” With more and more computer games being made for stereo 3D viewing. The logging stations use Blackmagic Design Intensity Pro cards. “Each left and right eye feed is converted within CineForm First Light into 2D files which we can play back on Final Cut Pro Studio.” he says.” says Kidner. The final show is output to XDCAM HD disc. Both sets of media are catalogued with CatDV software before ingest into Monster’s SAN.” Editing is performed in 2D with review footage output as a L and R signal on a 3D monitor with passive glasses.

” Which is why Holmes rarely travels without his Blackmagic Design Multibridge Pro edit system on a flyaway edit such as the Superbowl. says Holmes. “I have never encountered a situation where I wasn’t able to connect up to it. along with over 30 foreign broadcasters. “The most important thing about kit that I pack into a flightcase is that it’s reliable and flexible.” he adds. With P2 cards ingesting into the Apple Final Cut Pro Studio editing systems at five times the speed of real-time.. the whole process has become much simpler.” Holmes’ advanced editing system was ideal as it works in a wide range of outputs from SD. but we arrived in a blizzard with temperatures as low as -20 degrees – the worst snowstorm they had had for 15 years. Although he’s never had a problem with kit getting damaged in transit. Once the edit system was up and running smoothly in the portacabin. he sometimes takes the portable Multibridge Pro with him as hand luggage in case the rest of the hardware is delayed clearing customs. When Holmes. Holmes’ standard flightcase includes a Mac Pro. in 4:2:2 or 4:4:4 video quality Key advantages Blackmagic Design’s Multibridge Pro offered the right combination of reliability. “Blackmagic’s kit is well made. “We cut about six features and fan pieces and sent them over the satellite link to Sky HQ as DVCPro HD. so you need to bring kit which can cope with all eventualities. who runs his own edit company Edit Out. “You are never quite sure what you are going to be required to do or what kind of facilities you are going to be working with on jobs like this. I’ve never encountered a situation where I wasn’t able to connect to Multibridge Pro” 11 .CONTENT CREATION | SPORTS TELEVISION ‘Expect the unexpected’ could be Ben Holmes’ motto. I don’t want capture and playback solutions that only give me SDI video – it has to cover all the bases. Texas via satellite to Sky in London.” explains Holmes. flexibility and price.. and P2 material from his own ENG reporter on site. HD to 2K. It’s a tool – something that should be seen and not heard which allows you to get on with the job in hand. where he was required to edit and send video packages from the stadium compound at Arlington.” Based in the international compound of the Arlington Stadium in Texas. it provides the right combination of connectability. all Holmes had to worry about was the weather – which wasn’t so good: “I was looking forward to a break from the cold UK winter. SD archive footage.” he comments. “That way I can always hook it up to another Mac Pro while I wait for my hardware to ship – because Multibridge will easily hook up to any computer. Holmes edited Superbowl packages using a combination of Fox 720p 60 format material. for me. connectability. flexibility and price “It’s reliable and flexible. keyboards and Multibridge Pro. his first priority was to make sure he could cope with any eventuality. good value and.” Holmes has three Blackmagic Design Multibridge Pro systems as he finds them the most simple and reliable on the market. linking to his Mac Pro with PCI Express for a high quality 10Gb/s connection. a 24 inch Apple monitor. was hired by Sky Sports as the video tape editor on its Superbowl coverage earlier this year.

directly recorded in QuickTime. which were given to each journalist to do their own editing. he switched from Color to DaVinci Resolve for his whole production workflow.” PAD also created a small outside broadcast unit for TV Rennes. but with professional quality” LIVE MUSIC French artist Yannick Noah for a DVD release.” says Baiesi. it “needed a breath of fresh air. delivery and installation. He offers ‘out-of-the-box’ solutions including engineering. an HDV camera and a Canon 5D. In 2003. to be “independent. He is currently working on recording the final concert of sources. including a XDCAM. especially with the choice of technology. there were two isolated XDCAM cameras. an HDV and a Canon 5D. PAD developed eight ‘shooting units’.” explains Baudet.” he adds. including processing tools for noise reduction.” Baiesi believes Resolve provides him with around a 20% increase in speed compared to many other colour grading products on the market. an HDCAM. “I use the Multibridge Eclipse system for HD and DeckLink HD Extreme 3D for 3D. “Everything was re-done [in the studio] with cold lights. The cameras used for its outside broadcasts are the same as the shooting units.” And. and it also has a Mac Pro. On top of this. with shooting done on SD cards. “It had to be technically easy to manage. “We worked on two sessions of recording. “The main challenge was to connect all the data from various Key advantages Resolve 8 provides a range of new features. Baiesi is also excited by the new features that Resolve 8 will bring. through his Key advantages The use of Blackmagic kit meant it took only three days to establish TV Rennes’ HD broadcasting system TV Rennes’ system provides native support for HD. PAD’s latest project is the complete overhaul of French local TV broadcaster TV Rennes’ workflow. He worked for 10 years with French Director Mathias Ledoux. especially with the transition from 4:3 to 16:9 HD.LIVE MUSIC AND MOBILE EDITING | CONTENT CREATION Philippe Baudet. based on Apple Mac Pros. software consulting. training and support. After 25 years. during the shooting process). designed to be operated by just two people. “In the first session. “20% increase in speed compared to many other colour grading productions on the market” . we had an OB Van and six cameras. which led to work on concerts by artists such as Johnny Halliday and Vanessa Paradis. while providing it with the ability to broadcast in both SD and HD company PAD in Luxembourg. DeckLink HD Extreme 3D cards and a video hub. such as noise reduction and curve grading Jean-Pierre Baiesi is one of France’s video pioneers. having started out in 1980. he created the company Atelier Clandestin. MOBILE EDITING “It had to be technically easy to manage. “With the system set up with Apple and Blackmagic Design products.” “For the second recording. he opted for an AppleBlackmagic Design pairing. especially in terms of the colourimetry. curve grading and multi point stabilization. we have this highlevel broadcast quality – there’s only one level of compression (in-camera. tracked cameras and four Mac Pros with DeckLink HD Extreme 3D cards distributing live coverage edited by journalists.” says Baudet.” 12 After selecting Apple Color and Final Cut Pro Studio as his main software. Final Cut Studio was installed on the workstations. in 2010. then teams work in native format and avoid adding any additional compression”. which meant two different strategies. but with professional quality. creates production workflows for regional television stations.

The DeckLink has an unbelievable number of features for the price. and it plays right off the timeline in full quality. “The multi layered timeline within Resolve 8 brings familiarity when transitioning from an edit environment. He’s looking for a portable and affordable option for Season Four but is holding off on a decision until the release of Final Cut X. which is fantastic. giving you an elastic band like line to offset certain colours. an adventure/ educational series he describes as “The Crocodile Hunter meets Jacques Cousteau. Bird would prefer not to consider another editing platform. “We can capture our footage directly into Resolve. It has curves for everything required plus you can window or key that area for more accuracy. Shooting underwater comes with its share of challenges and Bird has tried a variety of camera formats during his three-season run. adds Blackledge. shoot. I am a hardcore lover of Final Cut Pro Studio and the Mac” Key advantages Curve grading enables colourists to customise hue and colour satuation in windows.” Resolve 8 has also developed the curve grading concept a lot further.” Bird uses Blackmagic Design’s DeckLink Studio during online. The picture that comes out the monitor is exactly what goes out to tape. For me to change editing systems doesn’t make sense. Arri Alexa and Phantom Gold.” says Blackledge.” While there may currently be a number of software choices available for cutting AVC.” is not only behind the camera about 75 percent of the time. edit and carry out vfx work and grading on the film. the forthcoming Blackmagic Design DaVinci Resolve upgrade to version 8 is nothing short of a major step forward in the creation of a more powerful colour correction tool. The producer and host of Jonathan Bird’s Blue World.UNDERWATER SHOOT AND COMMERCIALS | CONTENT CREATION UNDERWATER SHOOT COMMERCIALS To say Jonathan Bird of Jonathan Bird Productions wears many hats might be an understatement. providing faster grading Multi layer timeline support enables different layers to be exported intact into Final Cut Pro Studio with real-time rendering “The multi-layered timeline within Resolve 8 brings familiarity when transitioning from an edit environment” 13 . which is important as we do colour correction. which was shot on a combination of formats including Canon 7D. the facility was called on to plan. Panasonic 101. There are less expensive options that make better underwater cameras if editing in AVC HD becomes an option. “Now the new version of Final Cut will theoretically play AVC HD without conversion to ProRes. Blackledge. GoPro. You can now alter clip lengths and transitions without returning to Final Cut Pro Studio for changes. “It allows us to monitor in HD. “We are pretty entrenched with Final Cut. I am a hardcore lover of Final Cut Studio and the Mac in general.” For Simon Blackledge.” Key advantages Bird says Apple Final Cut Pro Studio is an extremely feature-rich and powerful editing tool for a reasonable price The picture coming out of the monitor through DeckLink Studio is exactly what goes out to tape “We are pretty entrenched with Final Cut. who has been using a beta version on a series of recent projects including a corporate promo for Castrol Edge produced by MatteBlackFilms for agency 2020. “It has all the curve controls now such as colour saturation and hue. vfx supervisor at Manchester-based vfx and post production facility Space Digital. says: “From both a workflow and grading point of view it’s a huge upgrade which has made a tremendous difference to how we approach jobs here at Space Digital” On Castrol Edge. he also shares editing duties. or use Media Express 3 to capture and the import into Final Cut Pro Studio. The end result is a fast and powerful edit and grade that we can render quickly in real time. we’re going to wait and see before we make a decision.

packed into a compact. but the FS100 has killed its appeal with its 35mm sensor. I was going in the other direction with Final Cut Studio and Apple hardware. With Final Cut going from strength to strength it has obviously paid off – particularly considering the cost cutting in video production over the last couple of years. Resolve’s real time grading is one of its most attractive features. So much Key advantages Final Cut Pro Studio’s Multiclip editing handles multiple camera feeds in real-time DaVinci Resolve’s tracker tracks the face as it moves in the frame in real-time. “I decided it had to be Resolve because colour correction is at the heart of my post production passion.CONTENT CREATION | POP PROMOS James Tonkin.” Another area where Tonkin has demonstrated enthusiasm for new technology is in the studio’s experimentation with the latest camera formats. “I loved DSLR because the look was so different from a standard 2/3-inch chip camera. but now Tonkin admits the days of DSLR could be numbered with the emergence of the Sony NEX-FS100. While some grading tools need time for rendering. used last year on a multicamera video shoot for British band Archive. Over the last 10 years he has built up his Shepherd’s Bush-based studio operation into a pioneering centre of production and post production making music videos. he was given free reign. “Recently I did a 25 minute grade for AC/DC and I was in and out in less than an hour. which Tonkin describes as “phenomenal” DaVinci Resolve offers real-time grading at a highly competitive price point The Sony NEX-FS100 offers low cost access to large format sensor technology.1 audio suite.” Tonkin used a pre-production version of the FS100 on music video Vertigo earlier this year and admits his head has been turned. With backing from artist management company IE Music.” Recently he has added Blackmagic Design’s DaVinci Resolve grading to his post production line up of two Final Cut Studio online suites and a “It had to be DaVinci Resolve because I spend a lot of time making the grade perfect and need a cost-effective system which allows me to do just that” 14 .” he explains. the outfit behind Robbie Williams. I spend a lot of time making the grade perfect and need a costeffective system which allows me to do just that. “When most people were setting up with Avid. Björk. Tonkin’s guiding principle when he set up the studio back in 2001 was to embrace the cutting edge of innovation – particularly where that proved cost effective. T-Mobile and Smart Cars. The Libertines. filmmaker and 5. He was quick to adopt DSLR cameras. has never been afraid to go out on a limb. commercials and films for clients including Robbie Williams. lightweight body Sony’s PMW-F3 brings the filmic look into reach for indie movies and pop promos with its Super 35mm sensor and PL mount director of Hangman Studios.

the FS100 is the one I got really excited about because it’s much more modular in its design. ergonomic design and easily accessible and familiar control buttons.” But Tonkin’s reserves his highest praise for Resolve’s tracker feature. Tonkin plans to achieve the look of a high-end music production with the use of just 12 camera operators and a total of 15 cameras. I’d say it’s worth buying it on its own just for that. It means I can stick it in a rucksack with a few other bits of kit and I’m in business. “The fact that Blackmagic Design has brought Resolve down to a really interesting price point – particularly considering its real time capability – is making it a great success. the FS100 is the one I got really excited about” Sony NEX-FS100 Outstanding 35mm Cinematic Video Unrivalled Low light performance Fast. com works regularly with Tonkin on music projects as DPand was heavily involved with the design of the Sony NEX FS100.” “Of all the new 35mm sensor cameras. the FS100 was a must because it produces a cinematic look equivalent to DSLR but with the added usability of a Sony camcorder. “Of all the new 35mm sensor cameras. “It’s phenomenal. including longer record times. If you need to up the bit rate and record uncompressed for a project then the PMW-F3 gives you that option with dual link HDSDI and all the high end connectivity that you will ever need. Afordable Workflow and Storage 15 . The footage is to be datawrangled on location onto RAID storage before being shipped back to Hangman Studios for a two week turnaround with post on Final Cut Studio and grade on Blackmagic Design’s DaVinci Resolve. he adds.” Den Lennie from fstopacademy.” explains Tonkin.POP PROMOS | CONTENT CREATION POP PROMOS so that he is planning to use the FS100. in combination with two other Sony large format sensor cameras the PMW-F3 and SRW-9000PL on an upcoming live music video to be shot this summer. I do lots of work where I selectively grade just a face or in one area of the screen. Competitive pricing is another big plus point of the Resolve grading systems. Simply put we now have incredible power at our fingertips and we can create more for less. For Tonkin. when the output of onstage minicams was included. “ Shooting with the FS100 in AVCHD and F3 in XDCAM EX. It’s modularity allowed us to work quickly without compromise. The exciting news for promo shooters is that you have the choice of cameras based on specific project budget but without compromiseing the post workflow or the image quality and resolution. absence of aliasing. Lennie Comments “The FS100 offers an extremely cost effective way to achieve 35mm production value. We were amazed during the Vertigo promo at just how responsive it was in low light and also how clean the images are at 25Mb/s. “But best of all. Resolve’s tracker it will track the face as it moves in the frame in realtime. the FS100 has the ergonomics of a small camera which I really like.

City Square provided a delight for fans who were queuing to get in. Head of Technology. City Square can be used outside of football. it’s quite entertaining. the rain can become part of the experience. CityTV also creates a complete match day experience. We also create a three-hour weekly program. we get a little bit of rain. as well. where our support for the Manchester City Football Club extends in many directions. live interviews. Dale Umphray. and I’m not aware of any other clubs that have tried anything on this scale. which includes match highlights. and even though much of City Square is covered. interviews and features. with two giant screens inside the stadium and three more giant screens in our “City Square” fanzone area outside the stadium. In addition to presenters. Manchester pop music legends Take That recently performed for eight days at the stadium on their reunion tour. City Square City Square is an area just outside the stadium itself. interviews and to pick up . with bars and restaurants where supporters can congregate before kickoff.CONTENT CREATION | SPORTS PROJECT NAME | CIT Y T V Manchester City and CityTV Dale Umphray us tells how he brings the Premier Fan Experience to the Premier League I am the Head of Technology at CityTV. we have two RF cameras for presenter links. We are the first club that put Premier League material online without any subscription fees required. We’re quite proud of that. Being in the north of England. CityTV material among the crowd. In all. enjoy themselves at bars and restaurants. One is the club website. and videotaped segments as sources. and watch a live onstage presentation with celebrity City Fans and players. For example.distributed to international 16 broadcasters via our stadium fiber facility line which is directly connected to BT Tower in London.

That includes all of the feeds from inside the stadium and City Square. our master control room inside the stadium houses the stadium announcer. For several years now. we can also add outside feeds that come from our direct link to the BT Tower. outside. the in-stadium big screens. As match day commences. Production There’s a dedicated production office and edit suites based at the City@home office outside the stadium where our production element sits. concession stands and concourses. 17 . and route them through to our EVS replay unit on any of our screens. match day experience content. and clips for our social Inside. corporate material.” Dale Umphray CityTV Etihad Stadium We use different Blackmagic Design Videohub routers to deliver feeds throughout the facility: City Square. and social media. we are once again using Blackmagic Design Mini Converter Optical Fiber devices to convert between fiber optic and SDI. you couldn’t imagine a more exciting place to be. EVS replay unit operator. the systems themselves are SDI. of course – Sony XDCAM HD – but we can also take in the feeds from our host broadcasters. the Family Section. as well as the 16 x16 Blackmagic Design Studio Videohub to handle all of the source routing. media channels on Facebook. which easily handles the load. and in the case of an away match. and a 16 x 16 Studio Videohub. and telling the stories of Manchester City around the world with broadcasting. of course. they have been building a team that is ready to compete for the Premier League championship. including the ones in City Square. Here. the world The Manchester City Football Club has very high expectations for the 2011 season. We have just upgraded to two Blackmagic Design Broadcast Videohub routers. so we also have Blackmagic Design Mini Converter Optical Fiber devices. All of the inputs and outputs required for all of the sites and venues listed above are all passed through the Blackmagic Design Studio Videohub. These go into our Apple Final Cut Pro stations. such as Sky or BBC. the director of the match broadcast. We can take fiber links from all of the individual cameras in and feed into the Videohubs. nor a more exciting time to be there. that are handling the live broadcast of the match. programming giant screens and concourse screens inside the stadium. While the links between these areas are via fiber. and more. which are creating feature material. online video. connected to the control room via fiber optic cabling. CityTV’s support for the Manchester City Football Club extends in every direction: providing entertainment for fans. Twitter. a broadcast engineer. We have our own cameras. and I’m not aware of any other clubs that have tried anything on this scale. outside Etihad Stadium in City Square. and they are off to a start that shows their determination. and YouTube channel. We also produce a three-hour weekly international programme which delivers content to more than 20 countries. and sound and graphics operators. highlights. it’s quite entertaining. In the football world. which we felt was a necessity to support the complexity of the feeds we handle between the Master Control Room and our Production Area outside the stadium.CONTENT CREATION | SPORTS MCFC WEBSITE THE CIT Y SQUARE “FANZONE” “In all. 72 inputs by 144 outputs. corporate and hospitality suites.

. Whether you are just starting out or an established player in your sector. The issue was how to expand our system. we were constantly plugging and unplugging drives.. storage and networking. but we wanted some of the flexibility and support which a larger editing organisation would expect. After assessing your technology requirements. discuss your requirements and swiftly propose a solution to suit your budget. Square can supply. 18 . staff and support you need for success.ADVERTORIAL About us. we’ll provide on-site deployment. It was clear that we needed to rethink our technological set up. As Paul Katis. the company started out with stand alone Mac Pros running Final Cut Pro and bought new machines each time it needed more capacity. “It was a hideous way to manage our workflow. The digital communications specialist is too small to warrant a fully-blown. In addition to supplying Apple equipment.. Square offers the help. high specification IT solution. which came up with a system which provided an effective answer to Pukka Film’s needs. often with an on-site visit to your premises. We are not a facility so we can’t justify a huge spend. best practice and integration services. and make us networked and more flexible without spending a fortune. Square solutions Too small to warrant a fully-blown IT solution to networked Final Cut for an answer that wouldn’t break the bank. software. which comprised two Final Cut Pro edits plus and ingest station.” The answer was Apple Premium Reseller Square Group. but as Katis points out. advice and expertise you need to focus on your clients. directly connecting up “The issue was how to expand. easier to manage and more cost effective solution built around Small Tree’s fast Ethernet and Final Cut Server. Let our experienced account managers provide you with the best possible solutions tailored to your requirements. we have the solutions. We can meet you at your convenience. but too big and specialised to meet its needs with a visit to the Apple Store. with chunks of projects in different places.. Square Group’s Vince Pittman recalls: “There wasn’t a budget for Xsan so we came up with a simpler. creative director at the corporate communications producer. which created a whole series of technical problems. hardware and software. ‘Xsan is a Rolls Royce solution and we are a little Audi’. we can make sure you are utilising a stable and realistic solution. explains. Working alongside your own staff. making us more flexible without spending a fortune” Paul Katis Pukka Films SOME OF THE THINGS WE SELL. Providing you with the whole package. The simplest solution would have been to suggest that Pukka run its operation around Xsan shared storage. Katis describes how PROJECT NAME | PUKK A FILMS Like many small production companies Pukka Films sits in an awkward market position regarding technology upgrades... install and support Final Cut editing systems. we pride ourselves on offering fantastic impartial advice on 3rd party peripherals.

Says Katis: “Square Group offers solutions rather than supplies kit. It understands our business” Paul Katis Pukka Films Contact T 020 7692 6808 E sales@squaregroup. creative companies. Pittman continues: “We try to look at the problem in hand and not overspecify equipment. Files are then converted to ProRes before being edited and mastered. The company understands our business and the way we work.co. irrespective of your industry or size.” He adds: “On top of that we installed Final Cut Server which provided the ability to work on bigger projects. One thing we are particularly proud of is our large. WC1A 1HB 19 . The industry is now more exciting than ever! VINCE PITTMAN Director Previously bought and implemented a number of high end systems for advertising agencies.. With Pukka Films. “We were able to just replug our CAT5E network to get the dedicated Ethernet feed from Small Tree. managing the workflow from the layer above.” Video editors using the Small Tree with Final Cut no longer have to transfer files between machines to open them..uk www. SHITEN PATEL Sales Director 20 years experience in the Mac market. backup and archive specialist.” “We are not more expensive than Apple and we make sure that we deliver systems properly with a level of support afterwards.” Manager Storage. Can recommend an ideal solution for your company. MIKE GEORGE Senior Account the Mac Pros so they now all have dedicated Gigabit bandwidth. We need them to come up with answers to the way we do work. Often what you get from resellers is technicians who ask ‘why are you doing it like that’. Pukka’s workflow is to originate material on Canon 5D and ingest into Final Cut with rushes immediately backed up onto LTO for archive. We really don’t need people to question our workflow. They can open them from the shared storage server in Final Cut. now leveraging from that experience to deliver solutions for Square’s customers.” “Square Group offers solutions rather than supplies kit.squaregroup. EMMANUEL GOMEZ VERRARDO System Administrator “I like the satisfaction I get from providing excellent. now an enterprise specialist. workable solutions for outstanding.co. Pukka Films boss Paul Katis went to Square Group the Apple Premium Reseller came up with the right answer PROJECT NAME | PUKK A FILMS KEY PEOPLE. well-trained service team.” For Katis the beauty of Square Group’s solution was that it fitted in with the company’s existing infrastructure which kept costs down. Square Group worked hard to find the right kit at the right specification to achieve its needs and come in on budget.uk Twitter: squaregroup 78 New Oxford Street London.ADVERTORIAL at the right price Pro editing.” Kitted out with 32TB of active RAID storage.

grading and vfx capabilities now comes in at far less than than you’d have paid for a single editing system a decade ago. “Facilities marketed themselves around the investments they had made on premium brands. then a post house editor.” says Johnny Whitehead.” he remembers. sold with dedicated hardware to which the user had to add outboard processing and software plugins. The drive had to be augmented with fast SCSI and video cards. you can now build a professional HD editing. now Blackmagic Design’s EMEA director. solutions for visual effects.” says Bird. Interoperability was limited to a bespoke piece of code written by a facility engineer. The computers weren’t fast enough to do much of the video themselves and needed a hardware base. compositing and grading workstation complete with high quality monitor Best of breed post production kit is in the hands of a far broader range of post houses today than a decade ago – the cost of a fully equipped HD workstation with editing.” A decade ago. compositing or editing were turnkey. “It was exasperating. “I remember at IBC 2002 people saying they’d heard about it but that they didn’t think it possible.” says Stuart Ashton. though it beat the alternative which was editing on tape. when Bird cut his first TV documentary on Final Cut Pro matters weren’t much improved.” But it didn’t have to be this way. It was a finicky. Deluxe142. Even in 2004. which was launched at NAB 2011 “There was a huge opportunity out there to make affordable products without jeopardising quality” Stuart Ashton Blackmagic Design 20 . “I had to take out a loan just to buy an edit system in 2001.” Outputting to tape was often crunch-time which could take several attempts to get right without a dropped frame. cutdown version of Resolve (Resolve Lite).HIGH-END POST TO SUIT ALL BUDGETS Quality post within the reach of all For the price of a single editing system a decade ago. “Basically everything was a lot of black boxes. “The early days of broadcast-quality nonlinear onlines were a nail biting affair. A group of post production alumni formed Blackmagic Design and became the first company to demonstrate uncompressed SD capture on a Mac. In three years the machine was outdated and needed to be replaced. “I had to rent a box for capture and playback as a well as a tape deck because I couldn’t afford to buy one and sometimes it would take a whole weekend just to install it and get everything in sync. A support contract was added on top. All the while the thing is costing me US$600 a day. “The editing worked just fine but the problem again was output to Betacam. high performance machine in which everything had to be tuned just right or it would crash.” A year earlier Apple had launched Final Cut Resolve Blackmagic’s top-end grading product Resolve 8 now starts at just £615 There’s also a free. director of operations. “There was a huge opportunity out there to make affordable products without jeopardising quality.” recalls filmmaker and producer Jonathan Bird.

Then it sold it sub £1k. Equally remarkable is Apple’s recent FCP upgrade which has seen the interface overhauled. “The downsizing of the camera and recorders mean excess baggage costs on travel are virtually zero. “We have always embraced new technologies such as 3gbs SDI and video over optical fibre. affordable and battery powered so it’s perfect as a field recorder. Even shorn of the need to handle physical film grading systems were still sold turnkey for £200K plus.” This is equally true when it comes to the topend post production service of colour grading. calibrated environment and a fair amount of investment in infrastructure to produce high-end post production.” says Ashton.” Noting that new. running FCP and an eight-core Mac with DeckLink Studio in his office to make the internationally sold Emmy award-winning underwater natural history show Jonathan Bird’s Blue World.” From SD through DV and HDV onto HD.” TK/grading system Compositor Editing workstation Vfx workstation High-end camera HD camcorder Reference monitor Price check 2001 £1m £225k £70k £225k £80k £30k £30k 2011 £1k – 200k £3k – 70k £1k – 10k £1k – £3k £25k £4k – £12k £30k Hyperdeck Shuttle Bypass your camera’s compression and records from SDI and HDMI direct into the highest quality uncompressed video. “There are high end DIs. “The stars of tomorrow at Ravensbourne are using the same kit that we use here. he cautions that inexpensive software is not necessarily the whole answer. progress has been remarkable in just 10 years. Compact. support for third party panels and 300 new functions. faster versions of Final Cut Pro introducing Final Cut Studio in 2005. we have a 16GPU system that a facility in Hollywood can buy to do a 3D stereo film or a 1GPU system perfect for someone wanting to grade a corporate video. “Where technology had previously pigeonholed facilities into high end features. or commercials.” says Ashton. “It’s all about trying to lead people to new tech without making them spend the earth or reinvent their workflow. “We changed the ethos of buying it.000 price tag proved too formidable for most of the competition.99. costs £215 “There are a lot of headline grabbing prices but you need a functional calibrated environment” Johnny Whitehead Deluxe 142 21 . acquired DaVinci. larger formats and all for just £179. thin reference grade monitors cost no less than the CRTs of old. vfx shots and audio mixes out of the reach of smaller independents but you can achieve an awful lot with FCP. Until two years ago grading remained stuck in a millennium time warp. or corporate work.HIGH-END POST TO SUIT ALL BUDGETS Pro 2 into a market bristling with rival nonlinear editing software.” While Apple continued to iterate fatter. Bird uses Macbooks in the field for ingesting footage. and shortly into resolutions at 4K and beyond. now the skill of the person using the kit became the main selling point and the facilities market opened up. it worked on an en vogue piece of kit. By removing those barriers of entry yet not taking anything away from what the application can do. and you could take work home with you on a decent laptop and piece together offline clips.” Innovations like this have liberated artists from operating at fixed desks and paying prime Soho rent giving opportunities to a new generation of talent. “There are a lot of headline grabbing prices but behind that you need a fully functional. wedded to a 64-bit CPU to take on more complex. “The interface was pretty. from tape to memory cards. a good editor and an effects package. kept the brand but revamped the entire system with off-the-shelf Nvidia graphics cards.” says Whitehead. Blackmagic Design was building on the success of DeckLink. Blackmagic Design took the bull by the horns. The muscle of a major computer manufacturer and its eye-opening $1.” says Ashton. “This kind of technology means we don’t have to have a huge production facility.” he says.

Autodesk’s Smoke on the Mac is also becoming a popular choice in some major facilities. The latest MacBook Pro and Apple iMac models are also equipped with the cuttingedge high-speed technology Thunderbolt. compact port. along with a few products from the likes of Blackmagic Design.000. the traditionally consumer-focused iMac should also attract broadcast professionals. The new DaVinci Resolve 8 from Blackmagic Design now includes Software choices Mac-based post production creatives working with this level of hardware will typically use a combi of Apple Final Cut Pro for editing. can become a full HD/SDI capable edit suite” Apple Final Cut Pro X 64-bit architecture with background rendering. In the meantime. That’s certainly the view of Jamie Allan. Thunderbolt is a revolutionary I/O technology that supports high-resolution displays and high-performance data devices through a single. which has changed the playing field once again. resolution-independent timeline and magnetic tracks to keep audio and video in-sync Cost of Apple Final Cut Pro X is £179.” though not usually found running on an iMac. saves you time and money Apple has consistently trailblazed innovation in the broadcast and film post production market and is now delivering blistering desktop video editing power with Final Cut Pro X.” he explains. all at a dramatically reduced price. can become a full HD/SDI capable edit suite. Cost of workstation from £2. Final Cut Pro X is set to shake up the software market as much as Thunderbolt already has for hardware – not only does it offer 64-bit support and background rendering.041 (inc. VAT) 5x faster graphics cards and three video ports Mac Pro workstation Up to 12 cores of processing power “An Apple iMac you can buy off-the-shelf for £2. but also 4K support and resolutionindependent editing.BUILDING EDITING SYSTEMS A cost effective edit suite Building your own cost effective post production system. It’s not the only software that’s become more attractive to those looking for a more affordable Mac post production system. VAT) 22 . along with a few products from the likes of Blackmagic Design.99 (inc. the 64-bit Mac OS X and the multiprocessing Mac Pro workstation line. post production specialist at Jigsaw: “An iMac you buy off-the-shelf for £2k. based around off the shelf Apple computers and expansion products from Blackmagic Design. “There are going to be a number of expansion boxes based on Thunderbolt – devices with HD/ SDI I/O for capturing and so on. Post production on an iMac With such power now available. with affordable products such as The Foundry’s Nuke or Adobe’s After Effects for compositing.

“Cost of Apple Final Cut Pro X is £179. It’s such a pity it doesn’t have a sexy name but it’s a stunning monitor with endless features. at say. buttons and knobs. It really is as simple as that. object tracking. It’s a view shared by Chris Bailey.” he says. Experienced colourists can take advantage of the DaVinci Resolve control surface. adding that Apple’s RAID solution for the Mac Pro. When you’re purchasing storage.” he suggests. “For real-time monitoring of 3G and HD video. and you are not connecting to a network. 4:4:4 RGB. “Whether something is compressed or not has huge implications on the resultant file size. but the choice of monitors are endless. he recommends the G-SPEED es Pro XL. senior account manager at Square Group.” Such a configuration currently comes in at around £4k on the Apple Store. advanced multi point stabilisation as well as automatic stereoscopic 3D image alignment. “The term ‘HD’ can mean anything from just a few MB/s in the video world to hundreds of MB/s – and this will have a significant impact on what storage system and how much storage you will require. Dedicated keyboards are available for Final Cut Pro. currently we’d recommend a Mac Pro with a 12-core ‘Westmere’ processor. “You wouldn’t expect [even] this system would reliably cope as it begins to get over 60% full. organise images with Faces and Places Monitors and peripherals Just as important in editing and finishing workflows are the screens you use. “Where budgets permit. Desktop powerhouse However. “This is an excellent professional solution for those working in multi-stream uncompressed HD and 2K workflows. curve grading. These should ideally be capable of running HD video. For a standalone system.V24G11Z 3G Grade 2 Monitor.” he adds. the DeckLink HD Extreme 3D covers all the bases with 3 Gb/s SDI. able to be fitted with multiple PCI cards.” adds Bailey.” Root 6’s Bailey suggests it’s not just the amount.” “If you truly are working on fully uncompressed HD.BUILDING EDITING SYSTEMS OpenCL processing. it’s just as important to understand about RAID and the level of protection you will have as well as the performance the solution can offer. such users can experience real-time noise reduction. Bailey also recommends Blackmagic Design’s video I/O solutions for the PCIe-equipped Mac Pro. you are always going to need a tower machine with fast internal storage that is able to be expanded. We’ve supplied kit from this manufacturer for years and it’s proved highly reliable. “We build tailored Macbased systems with pre-installed components on a frequent basis. but also the level of security that should be a concern. “For a professional post operation. specially designed to work in harmony with Resolve software.0 Media Express is used by thousands of Blackmagic Design customers worldwide for managing a wide range of media types and for capture and playback of files to and from broadcast decks 23 . we’d recommend the JVC DT.” he explains. “Therefore an external storage system would be necessary.” says Bailey. For £695. workflow designer at Root 6.” he says. then the stylish Apple Cinema Displays capable of 1650 x 1080 resolution are a potential must-have for a GUI monitor.” he says.” he says. 10bit 1080p at 24fps. “If you are working with a lot of high resolution media. VAT)” Apple Aperture Refine images and manage massive photo libraries seamlessly Re-touch photos with brushes and adjustment presets. correction using a more tactile interface such as trackballs. “Those with less demanding environments have plenty of choice with alternatives from G-TECH. but those looking to get more handson control would be better opting for a control surface. “Lose valuable content and you’ll lose clients. These are produced by several established manufacturers and can be used for such tasks as navigating through footage or adjusting colour Media Express 3. crucially for HD and higher resolutions. “If you’re looking to impress.” continues George. which configures four drives in a RAID 5 configuration. might not be enough. which brings this advanced node-based colour correction tool to users of the iMac and MacBook Pro.” Storage considerations “I think one of the most misunderstood aspects of building the correct editing system is working out how much and what kind of storage you need. a minimum of 8GB of RAM and a graphics card – the Radeon 5770 with 1GB of RAM would be ideal.” believes Mike George. Jigsaw’s Allan says there will always be demand for Apple workstations in tower form. 4:2:2. the ability to constantly upgrade storage capabilities. then you are going to need something substantial. massive amounts of RAM (the current limit is 64 GB) and. with native 12-bit and frame rates supported up to 1080/p60.99 (inc.

Rest on your laurels and you’ll be left behind as the need to keep on top of training is more apparent now than ever before. training to more quickly get to grips with the software. even the most experienced talent in the world will benefit from Multiskilling and training up for Apple FCP X Apple Final Cut Pro X brings with it massive changes to the editing platform so even the most experienced FCP editors will benefit from training to make the most of it Once you’ve learned the ropes on an editing package. gone are the days when. camera operators are sound recordists.TRAINING AND THE NEED FOR MULTISKILLING Brian Cantwell Soho Editors “FCP X is the first major change in the editing world since FCP first appeared. [In short-form] clients are looking more and more for one person to do the graphics. you simply learned a single industry standard product and got on with your job safe in the knowledge nothing much would change for the foreseeable future. edit and grade. Today. “A lot of editors will think of downloading FCP X and self-teaching themselves on it. Doing proper training. it’s easy to disregard the need for training. which almost certainly means they won’t learn the best ways of doing things” Brian Cantwell Soho Editors . vfx packages and colour grading systems. [FCP X is] so different to FCP7. If you can’t multi-skill to cover multiple roles there’s a very real danger you’ll be overtaken by someone who can. there’s now also an increasing need not only to understand how 24 your role slots into the myriad jigsaw of roles making up a production but to also have a working knowledge of many other stages in the process. Editors are increasingly taking on the role of producers (becoming ‘preditors’). as an editor. all the key essential elements of the production and post production process evolve around technology that’s continually changing. and so on. from cameras through editing systems. Added to this. you very quickly learn the correct things from experts. colourists are increasingly vfx artists. However. But in long-form there’s still a very marked demarcation. audio.” Putting the X into training The vast changes FCP users witnessed with the welcome arrival of Apple Final Cut Pro X only underlines the need for ongoing training.

“I don’t know if that will be possible with FCP X – it doesn’t look like you can cover all its features in one day.” believes Brian Cantwell.” The training house now offers a one-day FCP X course aimed at experienced FCP7 users as well as a three-day FCP X introduction programme for those with a basic knowledge and understanding of editing but who are new to FCP. you still need specialists. workflows. Creative Suite.” Cantwell reveals Soho Editors had a very limited window between the release of FCP X and getting its FCP X training up and running. However. edit and grade. news and multimedia studios. at Amsterdam’s College of MultiMedia.” he says. Meanwhile. It will be accessible to media. of course. I’ve been banging on to academics from day one about the requirements to teach multiskilling. But in long-form there’s still a very marked demarcation. the editors are doing the grading. while training teaches you how to make the most of it. Cantwell says. “Students should now be multiskilled – all my students call themselves DoPs but they are involved in the edit and grade and we also teach them Pro Tools. There are so many changes in FCP X – the interface. all of which will be equipped with “primary software such as FCP X. So. while training really teaches you how to make the most of it. md. which is laborious and almost certainly means they won’t learn the best ways of doing things. editors are doing the grading. “We were making assumptions and plans on different scenarios and developing our own content and course ideas. “I’ve been banging on to academics from day one about the requirements to teach multiskilling.” The university focus There is. DI rooms and edit suites. and if it’s a small production. Dave Neal.TRAINING AND THE NEED FOR MULTISKILLING “FCP X is the first major change in the editing world since FCP first appeared. an ever pressing need for colleges and universities to gear up quickly to the latest technology in order to provide their students with the necessary skills to master widely used kit. So the smaller jobs need multiskilling – but in a big production. meta data and the way it manages projects – it’s so different to FCP7. Talking more broadly about training. photography and animation students and the university is putting together three-hour workshops to train this fairly disparate set of students on FCP X. who are also signing up for his FCP training courses.” Cantwell says the trend for multiskilling stretches as far as directors and producers. the College of MultiMedia’s Nicholson says it also has a need for a multiskilled approach to training: “Certain production jobs are merging – the cameraman is doing the job of the sound recordist. “Even though they never plan to use the software they still want to learn the capabilities and possibilities. which are quick turnaround – where clients are looking more and more for one person to do the graphics. so the basics of FCP X can be disseminated before we get the onslaught of student questions. you very quickly learn the correct things from experts.” David Neal School of Creative Arts Multiskilling Training is becoming an ever more pertinent issue with the increasing expectation from employers that creative production and post personnel should be trained to fulfill a variety of roles.” “A lot of editors will think of downloading FCP X and self-teaching themselves on it. you still need specialists.” says Neal. training videos. audio dubbing suites. director Guy Nicholson says the one-day update courses the institute has previously run whenever a new version of FCP is released may not cut the mustard this time around. and if it’s a small production. fashion.” 25 . Certain production jobs are merging – the cameraman’s doing the job of the sound recordist. etc”.” “We’re planning to put FCP X on as many machines as we can. even the most experienced talent in the world will benefit from training to more quickly get to grips with the software.” In Holland. “All other changes have been evolutionary.” adds Cantwell.” Soho Editors’ Cantwell agrees: “There’s an increased pressure in certain areas – short form and promos. Soho Editors. Nicholson adds: “The end-user of any piece of software only uses around 10% of the features. so the basics of FCP X can be disseminated before we get the onslaught of student questions. [We’re creating] internal web training videos. even then the offline editor contributes during the online and audio process to help ensure the narrative is accurately translated. The course is backed up with “internal web Guy Nicholson College of MultiMedia “The end-user of any piece of software only uses around 10% of the features.” says The University of West England’s Neal. ahead of the software being released. One of the most immediate concerns for Neal is ensuring students are au fait with FCP X: “We’re planning to put FCP X on as many machines as we can. The more the director or producer understands. audio.” he says. Pro Tools. the better they can plan. senior technical instructor at the University of West England’s School of Creative Arts. “Doing proper training. with a view to purchasing a full Resolve system with control surface a little further down the line. The smaller jobs need multiskilling – but in a big production. says the facility is about to move to a new campus including a media centre with film. budget and realise what they plan to realise. They will also feature Blackmagic Design video cards and DaVinci Resolve software.

There’s no doubt that Apple’s under-the-hood engineering will make life very fluid for some editors. and is sure to defy expectations and disappoint many video pros who have spent the past year looking forward to a much-needed upgrade of Final Cut Studio. Most of the features introduced in FCP X are welcome and badly needed. Blu-ray disc format output. advanced organisational tools. The error rate was not higher than if we handled the same files manually. Ingesting directly 26 from the camera into FCP X is as simple and straightforward as it is in iPhoto – if you have an approved camera and the related device driver software installed. or merely a souped-up version of iMovie. either. or completely mess up some other part of your project. in our testing the program was prone to error only when syncing surround-sound projects. designed for industrial delivery of video assets. no DPX or OpenEXP file format support Company: Apple. As an editor. While not everything is handled perfectly. way to maintain the linking of video.99 (inc VAT) With the release of Final Cut Pro X (FCP X). nudge. In our tests. and even graphics and music. the software didn’t support importing media directly from Sony’s EX1. Apple is shifting its flagship video editor’s emphasis to tapeless. This is a huge accomplishment. Likewise. so media transfer had to first go through Sony’s XDCam Transfer Tool. It takes some time to get comfortable with the new interface. The burning question is whether FCP X is really a professional NLE application. FCP X is not backward compatible with projects created in Final Cut Studio because of the underlying architecture changes. The Magnetic Timeline is a quantum leap in video interface design. and we found the experience disorienting at first. XML support for sharing projects with non-Apple applications added in recent update. but rather an entirely new application that shares the same name. internet delivery via Podcast Producer. ground-breaking advancements in handling media via metadata. Clip Connections maintains content sync using just metadata. You now have the ability to grab and move clips in and out of the timeline with ease – moving one part of your timeline will not bump. You can’t open any existing project file. Here’s why. it’s difficult to accept an NLE handling tasks without directing the action. so support is limited. FCP X is not an upgrade of Final Cut Studio. ingest from Arri’s Alexa is limited. audio. Others are positively jarring and require a change in mindset to appreciate. transparent media management. and it does so transparently. blazing speed Cons: Doesn’t open previous FCP projects. On the other hand. you no Revolutionary Final Cut Pro X is a radical new approach that will change the future of non-linear video editing Make a connection The Clip Connections feature is more than just a simple visual indicator of what parts your project media is linked to while on the timeline. Despite many reservations about the new FCP X. sound. no support for hardware monitoring until ealr 2012.apple.FINAL CUT PRO REVIEW Final Cut Pro X Apple has once again set out to completely re-invent the video industry Pros: Ease of use. and YouTube. Facebook. Some are long overdue. Vimeo. Apple’s adopted a radical new approach that will dramatically change the future of non-linear video editing (NLE). as metadata from that camera is handled as an FCP 7-compatible XML sidecar file. To handle scratch disk allocation. Some cameras that are popular with video pros might have minor issues. allowing all media to be treated as a single contiguous element. effects. Don’t expect to use all of your keyboard commands. The function key commands have been remapped.com/uk Price: £179. we’re cautiously on board. www. and then get imported as files. The new interface borrows liberally from Final Cut Server and iMovie. this product at launch is nowhere near perfect. metadata-based shooting and production techniques that accommodate the industry’s emerging data-centric workflow.0 is staggeringly impressive. . after a thorough testing of the app. It offers a powerful yet simple. Much of FCP X version 1. overwrite.

the broadcast industry requirements to deliver HDCamSR videotape with a defined order of multiple audio tracks is seriously constrained. and rolling shutter artefacts. the application automatically groups shots based on close-ups and wide shots. That performance gain comes from the program’s native 64-bit toolset and the operating system’s Grand Central Dispatch. All this action is handled in the background because FCP X is a 64-bit program working with a 64-bit operating system. After ingest. Vimeo. user keywords. you can also flag content based on client. However. FCP X automatically analyses your media during import and archives critical category. This 64-bit architecture lets FCP X access every byte of RAM. letting you organise your media in an almost infinite variety of ways. Another change comes within the Clip Browser. you now define disk locations and move data directly when an Event is created. Performance Without exception. It also adds tracking and stabilisation information and checks for the presence and number of human faces in each shot – all on a clip-by-clip basis. DVDs. With that power. it also allows realtime preview of your filters and effects in both the viewer and as thumbnails. delivery and rendering capabilities. Final Cut Pro X never lagged. with your media flagged indicating each 27 . other Apple devices. creating a full-resolution 1080p23. output options are currently limited due to the lack of third-party hardware devices. automatically sorting it in the Event Library. location. and accelerates workflow. Click on the sprocket/ gear icon at the bottom of the Event window and select the Group Events by Disk command. tasks like ingesting media become a minor background chore rather than a consuming process.of which happens in the background. YouTube. labelling is based on content. since Final Cut Pro has been a growing staple in many live broadcast trucks for a number of years. and longer define a location based on a system level setting.98 file faster than real time. the majority of an editor’s Shop front The Mac App Store is easy to navigate and will be very familiar to iTunes Store shoppers. FCP X tags the files with additional metadata in a way that speeds file processing. and unlock GPU-based graphics processing. time of day. providing easily importable export workflows for editors. even as we pushed the machine to the limit. and on embedding direct compression and upload support for video streams on Facebook. There’s a noticeable improvement in media handling and responsiveness after the transfer/ingest is complete. often while rendering high-resolution output as DPX frames and simultaneously transferring media to multiple external drives – in addition to rendering files for playback on an iPad and prepping content to be edited on a MacBook Pro. FCP X is the fastest NLE we have edited on without the assistance of dedicated hardware. This feature then populates and labels the Smart Collections in the Event Library. The power doesn’t stop there. By adding your own keywords to the automatic ones that the program generates. Capture and playback of content for live events has similar problems. You can immediately start editing in the foreground while the file is being transferred or transcoded for proxy creation. deciphering flaws such as camera shake or bad audio. Then you can move or allocate media to any attached volume listed. CNN’s iReport. which harnesses power from the GPU processing as well as the multicore CPU. This is genuine multitasking and it feels good. because it’s designed to look like the iTunes Store time is devoted to media organisation and content labelling. In post-production. Without hardware output. With FCP X. it’s always using the maximum power available to your computer. Because FCP X processing is scalable. With a new feature called Auto ContentAnalysis. This is due to additional processing power being allocated back to application as soon as the Finder has completed its tasks. such as colour balance. Delivery Apple has focused on online electronic delivery functionality in this release of FCP X. B-roll or even script notes. This skimming function is incredibly fast and functional. The H. or from within the Event Library. By handling all of this analytical information at ingest.264 acceleration is amazingly fast compared to previous Apple tools. No longer does it take hours to compress for website delivery. and the muchanticipated support for Blu-ray. all “Our inability to use some of the most common editing commands to insert and move media squandered a good deal of our previous editing speed and expertise” information from the camera’s metadata. be it a MacBook Pro or a Mac Pro. movement. execute true multiprocessing across all CPU cores. where you now skim through your video files at speed. Compressor 4 has been fully integrated into Final Cut Pro X.

frame rates. How long will it be before we’re able to open those files. Gone is the node-based look of the previous tools. . FCP X compares audio waveforms from both sources. With this sort of file synchronisation. This is a truly groundbreaking release. The new Color Board is simple and straightforward. The elimination of a track-based timeline in FCP X is no longer an issue for the editor when the elemental pieces are locked together as a single group. the colour correction You no longer have to sort through clip after clip searching for a particular night-time exterior shot – just group clips by content. Bins. Finishing: sound and colour FCP X has incorporated some of the best features from Soundtrack Pro and Color to simplify audio editing and colour correction and give users a more streamlined way to finalise their projects. what Apple calls Media Stems Export .0. scene. Colour grading is another area where tools of the past are being replaced. import date. the ability to create and edit Final Cut Pro projects and Events on XSAN. and a host of other enhancements. and the high-speed Phantom Cine files? You can now create and edit your Final Cut Pro X projects and Events on Xsan. Multiple users can access the same source media. Multicam Editing and Broadcast Monitoring. Understanding that many DSLR-based Final Cut Pro 10. or excessive background noise. While FCP X can’t open the DPX or OpenEXR file types used for commercial production and visual effects in many Hollywood workflows. The concept is simple: group all of the elements together as one contiguous clip. This organisational process is key to the operational speed gain of FCP X. linking either your stereo or surround sound audio with subpixel accuracy. Gone are Log and Capture over anything except FireWire. give the user a visual reference to confirm what is attached. then locks them together using Clip Connections into a single new file to ensure that audio and video are handled as one unit. exposure. The Balance Color setting means everything starts with proper white balance. voiceover. tools like the Magnetic Timeline gain true power to change the way you edit. and saturation. sizes. and Cinema Tools that were formerly part of the suite. Cameras today record colour settings as part of the data stream. or even file type. and sound effects as a single element in the timeline. including: XML support. it now makes use of Mac OS X Lion’s full screen mode. offering many new features.1 update Apple has released Final Cut Pro 10. Soundtrack Pro. panels. or you can use the inspector to fine-tune settings. Furthermore. those that need to work for a living will not be giving up their hardware-based version of Final Cut Pro 7 just yet. Not surprisingly. Color. offers a wide range of delivery codecs. Unfortunately there is no numeric entry accompanying the slider bar. FCP X does have the built-in libraries from Shake in place under the Share > Export Image Sequence function to output such files.99. ARRIRAW. something FCP X immediately detects and Export now Compressor. and encoding parameters can correct. making the process more creative and less mechanical. Apple is once again out to completely re-invent the video industry. FCP X can pre-analyse audio flaws in your media in the same manner that it determines camera shake and colour imbalance. you can import media 28 through Final Cut Pro X and place it directly on the SAN. as well as other formats like Red’s R3D. music. hum. Moving each element no longer risks a loss of media or a clip overwrite rippling down the edits in your timeline.1. so you must use the Match Color feature to maintain colour consistency across multiple clips. duration. Ideal for multi-user workflows. It can automatically remove silent channels. There is also accelerated graphics card support. allowing users to correct colour. then uses the Synchronize Clips command.enabling one to export files based on tages. then lock the clip to maintain continuity and sync. graphics. for example. and camera manufacturers can use the Camera Import SDK to write plug-ins for importing media from a wide range of cameras.FINAL CUT PRO REVIEW CONTINUED productions rely on having video and audio recorded on separate devices. The ability to dynamically modify multiple search parameters is much like having Google built into the program – it gives you faster access to your media by searching with words rather than endless visual scanning. This organisational database is key to the new Clip Connection’s ability to maintain synchronisation of your original media. have been promised from early 2012. available separately for £29. interface has changed dramatically. and we hope that the pro features that many video editors currently use will be made available soon. many of the native codecs used for editing in the timeline. For the time being. and tools like DVD Studio Pro. With Final Cut Pro X. Sony’s SR2.0. tabbed browsing of projects. This allows you to focus on only the DSLR footage.


000.Your world in stats 2.the growth in online-video ad spend from 2009 to 10 77% of tablet owners now use their laptop or desktop less 1 in 3 spend more time with their tablet than watching TV 13.000 – number of Apple Macs sold in 2010 300 – number of developers for FCP 172 million people watched 35 billion online videos in November 2010 Video traffic is 44% of internet bandwidth usage 1.number of Apple FCP users In 2011 to date Americans spent an average of 5 and Europeans an average of 3 ½ hours watching television every day 40% .700.000 .2 billion videos are streamed from YouTube every day 30 .

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