Final Cut Pro X is Not a Professional Application Petition

Final Cut Pro X is Not a Professional Application Petition

El martes pasado, Apple lanzó Final Cut Pro X — una decisón sorpresa para la comunidad de post. Sin embargo, lo que ha sorprendido a muchos de nosotros desde entonces fue cómo lo sacaron.
Sin entrar en detalles acerca de la nueva aplicación, es evidente que Apple ha decidido dejar sin soporte a los editores profesionales de FCP
Cual es tu reacción a esta desición, crees que es conveniente migrar a otras aplicaciones
Te dejo el link de la petición hasta hoy de más de 4000 firmas dirigida a Apple para mantener el soporte o en ultima instancia de vender la licencia a otra compañia
FCP Online Petition http://www.petitiononline.com/finalcut/petition.html
Te gusta el nuevo Final para edición profesional ?



Gracias por tus comentarios

Apple Editing System Final Cut Pro 7 New Upgrade

You can upgrade to the new Final Cut Studio for $299.

Puedes comprar tu upgrade de Final Cut Pro

Jan Ozer gives us a screencam presentation of Apple Final Cut Pro 7’s key new features, including the Share option, Blu-ray output, speed control, new ProRes formats, and YouTube upload.

http://digitalcontentproducer.com/dcptv/final_cut_pro_7_0727/

New Final Cut pro Version 7

http://digitalcontentproducer.com/desktoppost/depth/final_cut_pro_7_723/

Posted via email from signal's posterous

Producción integral High End Sony HVR-Z7 renta de equipo de video y cine digital de alta definición profesional

Bienvenido a mi página de producción y renta de cine y video digital de alta definición, ya puedes rentar y producir con la increíble Sony HVR-Z7 de Lente Carl Zeiss intercambiable y grabación simultánea en cinta y tarjetas de memoria, disponible con accesorios Dolly y Steadicam opcionales

La Sony HVR-Z7 es la única cámara profesional "high end" que te permite grabar simultáneamente cine digital progresivo de alta definición a 24p y 30p tanto en tarjetas de memoria como en cinta

Cuenta además con un increíble lente Carl Zeiss intercambiable de operación totalmente manual y automática. Este nuevo lente de óptica Carl Zeiss calidad broacast además de los ajustes manuales y automáticos, puede ser substituido por lentes primos de óptica de cine y fotográfica. Mis 10 Razones para considerar a la HVR-Z7 la mejor cámara del momento

Lente intercambiable de Bayoneta con calidad Carl Zeiss.
Grabacion simultanea en HD, HD / HD – SD / SD – SD
Adicional a la grabación en alta definición, cuenta con la posibilidad de tomas en definición estándar tanto en cinta para archivo como en tarjetas para edición inmediata
Manejo excepcional en condiciones de poca luz
Ergonomia excelente mucho mejor que la PMW-EX1
Excelente micrófono y grabación profesional de audio con calidad superior
Posibilidad de manejo de lente iris y foco en forma automática y manual
Control variable de zoom en el manillar
Gran cantidad de perfiles de cine digital
Botones asignables para cámara lenta y rápida y cambio de foco con marcas manuales de estilo cinematográfico
Puedes escoger mis paquetes integrales de producción todo incluido o si prefieres también puedes rentar las cámaras de manera individual escoge la opción que se adapte a tu experiencia y presupuesto. Te hago notar que este equipo "high end" de cine y video digital full HD es muy complejo y sofisticado, si no eres un experto productor y cinefotógrafo te recomiendo que optes por los paquetes de producción integral, tu te encargas de poner el lugar y nosotros nos encargamos de todo lo demás, tendrás una gran tranquilidad de producir con nosotros.

HVR-Z7
Video Production Mexico

ShotPut EXpress™ For Sony XDCamHD EX Cameras

ShotPut EXpress™ For Sony XDCamHD EX Cameras
Automates Secure Offloading and Backup of SxS Cards


Carmel, IN – Imagine Products, Inc. announced today the release and general availability of ShotPut EXpress™ a new, automated offload application for Sony EX SxS cards. Now you can securely backup Sony XDCamHD EX based video projects while streamlining your workflow from acquisition to archive. Available for Mac or Windows (Intel-Mac, Windows XP and Vista computers).

ShotPut EXpress™ features Single card (manual) and Multiple card (auto) modes. Simply insert the SxS card into a PowerBook or Notebook’s ExpressCard slot and ShotPut EXpress™ makes secure, verified copies of the SxS card’s video contents (the BPAV folder) in up to three (3) locations.

ShotPut EXpress™ makes a printable activities report log of all the file transfer activities. This text file shows all the details including names of cards and files, the copy destination names, file sizes, duration of each transfer and aggregate transfer time, date, etc. A great way to document and organize your project and billable time.

Why Use ShotPut EXpress?

Fast Copying: Perform copies at top speed without the overhead of Finder or Explorer.

Automatic or Manual Copies: Manually select one or more drives to copy. Or use the auto offload mode to sequentially copy SxS cards upon insertion.

Easy Folder Naming: Save time and improve consistency and organization by auto-naming the copy folders.

Improve Workflow: Make up to 3 simultaneous SxS card copies at the same time.

Reformat Cards: After offloading is finished, automatically Erase the BPAV folder contents and Rename the card so it’s ready to return to the camera.



Security: Verify byte-to-byte comparisons of your media copies to ensure integrity of the files.

Verification Report: Create a record of file transfer activity, how the copies were named, time, date, etc. Save complete details for project organization and billable time.

Print Offload Log: Offload results are presented in a text file, printable with the click of a button.

Session Error Checking: Prevents overwriting of existing folders and duplicate offloading of the same card.

Progress Bar: Displays overall percent completion and file-by-file progress during the copy process.

Copy Cards or Disks: The BPAV contents of any mountable volume (drive) can be copied.





ShotPut EXpress is a single user, download application. Help and Users Guide in PDF format available. When you purchase, the serial number provided may be used with either the Mac or Win versions of the software. Available now.

Imagine Products, Inc. develops high value, innovative digital logging tools, video analysis solutions, archiving systems and asset management software for video professionals. Imagine Products' corporate headquarters is located at 1052 Summit Drive, Carmel, Indiana 46032, USA. The company can be reached by phone at (317)-843-0706, by fax at (317)-843-0807, or on the web at http://www.ImagineProducts.com/


ShotPut EXpress is a trademark of Imagine Products, Inc. All other trademarks are property of their respective owners.

Lesson 3.2: The Timeline

Well, the Timeline: This is where the magic happens. You may set effects and in-points and out-points in the Viewer, or select those effects in the Browser, but your project ends up here... The almighty Timeline. 

Actually, at first glance (and based upon personal and shared opinions) the Timeline looks like the easiest window to understand, specially if you´ve worked on iMovie. And it is, if you use the basic knowledge: you pull the clip, and drop it on the Timeline, like we did on Lesson 3.1. But then, you´d have a sequence featuring tons of bumps, and jumps, and audio problems, etcetera.

The Timeline and the Canvas have a smbiotic relationship: Both display two different views of the same sequence, were the Timeline shows the chronological arrangement of clips ad layered video and audio clip items, while the Canvas provides  single view of your sequence as it will appear on whichever media you´ll be playing it.

On the upper right corner of theTimeline you´ll find the tabs for each different sequence you´ve created. Using the timeline, you can quickly navigate through an entire edited sequence, adding, rearranging and removing clip items.

One thing you´ll notice is that the playhead in the Canvas mirrors the playhead in the Timeline, which means you can use the Canvas to add in-points, out-points, markers and keyframes in the Timeline, and viceversa.

You can open sequences from the Browser in the Timeline, by double clicking the desired sequence in the Browser. Also, if that sequence had previously been opened in the Timeline, you can select it from the tabs I mentioned earlier, located on the upper right corner of the Timeline. To close a sequence, simply select the sequence´s tab in the Timeline, and choose File>Close Tab

On the Lower right corner of the Timeline you´ll find the keyframe and track controls: Toggle Clip Overlays and Toggle Clip Keyframes. The Toggle Clip Overlays button allows you to actually see the levels of opacity and sound in the sequence´s clips, while the Toggle Clip Keyframes button allows you to edit keyframes in the clip. Those of you familiar with Macromedia Flash (now known as Adobe Flash, since the release of CS3=, or Corel R.A.V.E (known asCorelCAPTURE, from the release of CorelDRAW Graphics Suite X3 on(man, has it been that long since I learned to use animation software????)) , or any other animation software will know what a keyframe is, and what's it's usage.

On the right side of the Timeline, we found ourselves with the Editing Controls: Source and Destination, Track Visibility, Lock Track, and Auto Select Control.

Today´s shortcuts: 

Snapping: N

Linked Selection: Shift+L

Clip Overlays: Option+W

Render All: Option+R

That´s all for today. Keep an eye out for Lesson 3.3

Final Cut Pro

Lesson 3: Editing 101

Well, we've gotten here. That's quite a step, you know? Many people just stare at the computer and say: Meh, I think I'll do it in iMovie instead... But if you've followed since Lesson 1, and at least have tried to set a scratch disk, then you are worthy of recognition

This one is a strange lesson, because I can't really tell how you should edit your videos. I can only pass on some old editing wisdoms, and say what buttons do what things. But editing works two ways:

1. You follow your instinct
2. You obey the producer's orders

It is also an extensive lesson we'll have to divide into 4 parts. Today we'll concentrate on basic editing. So, let's get started...

First of all, ancient editing wisdoms:

1. Long clips are boooooooriiiiing! Keep it short, 10 seconds per clip, at it's most...
2. Do not overuse effects. It looks cheesy, and it can force your computer into a crash, unless you render
3. Transitions ARE an effect
4. Sound is important. Try to use sound transitions whenever sound levels jump a lot between clips
5. Don't listen to music while editing... Trust me...
6. Save your project, for God's sake, Save every 5 minutes!!! You can't trust on the autosave feature too much...
7. Don't edit more time than you can spend having fun. You'll get bored, and eventually, you will do neither. Try to balance it..

Now, off to the EditCave (cheesy 70´s superhero music):

If you've payed attention, you now know each of the windows in FCP (Browser, Canvas, Viewer, Timeline). You also know how to upload footage (Log and Capture). So now, all you've got to do is, move your mouse button over to the Browser. That's it. Double-click the desired clip to make it appear on the Viewer. Now that "Kat's_Birthday_Party_001.1" is on the viewer, proceed to select an in and an out point. (Remember Lesson 1's shortcuts? I= set in-point, O = set out-point) Now, once you've set the in-point at the moment Kat's face is shoved deep into the cake by good old Tommy Benson, and the out point when Kat throws cake at Tommy's face, click and drag the Viewer's screen. You can either drag it to the Timeline, and drop it there, or to the Canvas, were a small multicolored menu will appear, displaying different options: Insert, Superimpose, etc. Choose the one you prefer. If your clip appeared exactly as you wanted on the Timeline, congratulations, you've succesfully edited a clip!!!

Now, that's adrenaline, ain't it?

Keep tuned for part 2 of lesson 3!

Final Cut Pro

Lesson 1: Features of Final Cut Pro

Okay... Let's check if everyone's here... meh, probably you're all here....

Today we start with our 5 day Final Cut Pro 101 non-consecutive course, and I'm telling you, it'll be tough: you'll probably have to go to your Macs and do some mouse-clicking, you'll learn what you must do before starting to work, how to upload your raw footage to your computer, and how to make that raw footage into a nice sirloin footage with mustard sauce (damn, I'm hungry...)

I'll also give you a list of shortcuts at the end of each lesson. This way, you won't have to learn the exact location of menus and buttons. Although, you'd do well in learning those too...

First off let us remember something from our previous lesson: Final Cut is based upon Adobe Premiere, so, if you know Adobe Premiere 101, you have an advantage over all of us who didn't even know about other editing software befor Final Cut, except for Windows Movie Maker, or iMovie (I've done some nice things in iMovie, and so has my friend Ing. Jose Maria Noriega C.A.S. In fact, he's better at iMovie than many guys at Final. Behold the power of Simplicity!)

Final Cut is one snazzy application: non-destructive editing of any QuickTime compatible video format. It also supports an unlimited number of simultaneously composited video tracks, up to 99 audio tracks, multi-cam editing for cutting video from multiple camera sources; as well as your standard set of effects like ripple, roll, slip, slide and many other I can't really name right now, cause I can't remember (I'm just human after all, you know?)

If you're a beginner at Mac, you'd like to get yourself Final Cut Pro 6, the newest version, since it has better integration with Apple's other Pro applications and improved codec support for editing HD, DV and SD video formats, or Final Cut Express: it's Final Cut Pro, without the Pro, which means less specifications and more user friendly. If you like things well done, you might also like to get Final Cut Studio 2, which includes our aforementioned application, Motion 3 , Soundtrack Pro 2, Compressor 3, DVD Studio Pro 4, and Color. I personally have a Boris FX

plug-in integrated in my Final Cut Pro. Kinda makes it even snazzier (God, I love that word! Snazzy!)

Final Cut Pro and Final Cut Express have four main windows: the Browser, The Viewer, The Timeline and the Canvas.

• The Browser: where source media files are listed, including video files, audio files, effects, pictures, and transitions


• The Viewer: This is where you preview and trim files, including effects, transitions, and pictures


• The Timeline: your map on your editing adventure: this is where you arrange your diverse files into what's to become your final product.


• The Canvas: this is where you see your edited production from the Timeline. In short terms: On the Viewer, you watch what's happening on the Browser, in the Canvas you're watching what's happening on the Timeline.

Both Viewer and Canvas windows have a jogging interface, which is useful when you want to scan frame by frame your files, and a shuttle interface, your aid when wanting to scan a film on different speeds

Shortcuts:

• J: Play any file at full speed backwards


• K: Pause (you can also use the Space Bar, which is Play/Pause on many Apple apps)


• L: Play any file at full speed forwards


• I: Set an in-point on a clip or sequence


• O: Set an out-point on a clip or sequence

That's all for today. Hope you liked today's lesson... See ya soon enough !!!

Video and Television postproduction editing in Mexico

A Brief History of Final Cut Pro

Last time, we took a look at how edition has changed in the past 40 years. We now know what linear-edition systems are, how they worked, which was the first real non-linear edition system, and who are the big boys in the edition software game.

This time, we'll take a shot at Final Cut Pro, Mac's edition software. You've probably seen the results of using this fine piece of computer programming, although you probably don't know you have. Let me give you a hint: if you've seen Napoleon Dynamite, Sky Captain and the World of Tomorrow, The Ring, Cold Mountain, Happy Feet, Corpse Bride, No Country for Old Men, or 300, you've watched only a few of the many movies post-produced with Final Cut Pro. It's a nice bunch, if you ask me...

Now for some History Class:

It all starts with Adobe Premiere. The year: 1992. The man: Randy Ubillos. Randy had created the first three versions of premiere before being given a team. Just before Premier V.5 was released, Ubillos was hired away by Macromedia to creat KeyGrip, which was to become an even snazzier video-editing software based on Apple QuickTime. Yet, Macromedia could not release the product without harming Truevision, as KeyGrip was also based in part on MS technology licensed to Truevision, and then borrowed to Macromedia. The license agreement stated that it was not to be used in conjunction with QuickTime. So Macromedia was forced to keep the product off the market until a solution was found. Afterwards, around 1998, Macromedia started focusing more and more on web applications, and they started looking for buyers for their non-web apps, including KeyGrip, which by this time had been renamed Final Cut.

Final Cut would be presented in private room demonstrations at 1998's NAB. During the demonstration, Windows and Mac versions were shown. The Mac version was working with a Truevision RTX dual stream real time card with limited real time effects.

When no purchaser could be found, Apple decided to buy the software as a defensive move. But then, Apple could not find anyone willing to buy the program, so they continued developing the software. In 1999's NAB, Apple presented Final Cut Pro, with added Firewire/DV support.

With the introduction of Final Cut Pro, Adobe remained strong on Windows, but began to lose users on Mac. since its older codebase was more difficult to maintain and enhance. In 2003, Apple announced a program for Premiere users to trade in their discs for a free copy of Final Cut Express or a $500 discount on Final Cut Pro. Later that year, Adobe introduced the successor to Premiere, Premiere Pro, a Windows-only product with a modern codebase.

Next time, I'll teach you Final Cut Pro's features, as well as file formats and introduction to start editing your videos...

See ya!!

Video and Television postproduction editing in Mexico

Non-Linear edition's importance in today's media (or "Remember how edition was like 30 years ago?")

Ah, the 60's!!!

The music, the colors, the movies, the clothing, the hair, the forcefully linear edition...

When someone who knows about edition, or knows something about the entertainment business talks about linear edition, you can almost see the goosebumps popping in his' or her's skin. Linear edition was tedious, boring, and extremely difficult. Imagine having to take a look at a whole tape, looking for the right shot the producer or director wants. You'd need at least two VCR's ( and not any VCR, if you want your video to look just right), a switcher, a mixer, at least two monitors's, a big bunch of cables, and a thumbs-up editor, for when your boss shouts at you "I like that!! Tag it!!!"

Then along came CMX 600 in 1971 , and all our problems were solved. It recorded & played back black-and-white analog video recorded in "skip-field" mode on modified disk pack drives the size of washing machines. The 600 had a console with 2 monitors built in. The right monitor, which played the preview video, was used by the editor to make cuts and edit decisions using a light pen. The left monitor was used to display the edited video. A Digital PDP-11 computer served as a controller for the whole system.

After that came LucasFilm's EditDroid in the 80's (the name is obviously influenced by Lucas' Star Wars trilogy) and the Avid1 as the first in it's line of Media Composer systems in 1989. I actually saw an Avid1, and even pressed it's buttons (that sounds a bit primitive, but I was only 5 back then. The term "computer" and "delicate equipment" meant nothing to me)

Avid then forged it's status as market leader in edition software, but two new cowboys were about to enter the scene. The first one was Adobe Premiere, which was launched in 1992 but only became a serious threat to Avid in 1995. And the other one was Final Cut Pro, in 1999, back when good ol' Steve Jobs was rocking the computer world after NeXT was bought by Apple in 1996.

The thing about non-linear editing, is you can 2 two different parts of the movie at a time, or you can easily find that scene you are looking in tape 2, without having to scan the whole movie again. It's all 1's and 0's, baby

While Avid Media Composer is mainly used by big Hollywood filmmakers, Final Cut Pro and Adobe Premiere have found their way into the hearts of young (and not so young) independent filmmakers around the worlds. Final Cut Pro's user base is 49% percent of all professional editors, with Avid at 22%.

All this serves to a purpose: an introduction to a series of tips, lessons, secret features and many other things I'll be publishing in the next couple days, so stay tuned if you are interested in learning how to make your vacation video even more neat!!!

Until Next time!!!

Final Cut Pro
Avid
Adobe Premier
Video Editing

Video and Television postproduction editing in Mexico

Libros Escenciales de Produccion de Video

Libros Escenciales de Produccion de Video
Video Production Books

Produccion de Video

• Apple Pro Training Series : Getting Started With Motion
• HDV : What You NEED to Know!
• DVCAM: A Practical Guide to the Professional System
• Desktop Video Studio Bible : Producing Video, DVD, and Websites for Profit
• Digital Compositing for Film and Video with CDROM
• Color Correction for Digital Video: Using Desktop Tools to Perfect Your Image
• DVD Studio Pro 4 : The Complete Guide to DVD Authoring with Macintosh

Adobe Photoshop

• How to Cheat in Photoshop: The Art of Creating Photorealistic Montages
• Photoshop Classic Effects: The Essential Effects Every User Needs to Know
• The Photoshop Channels Book
• The Photoshop CS2 Speed Clinic
• Commercial Photoshop with Bert Monroy
• Photoshop Masking & Compositing
• Adobe Photoshop Restoration & Retouching (3rd Edition)
• Adobe Photoshop CS Down & Dirty Tricks
• Photoshop CS2 : Up To Speed


Adobe After Effects

• Adobe After Effects 6.5 Magic
• Creative After Effects 7 : animation, visual effects and motion graphics production for TV and video
• Creating Motion Graphics with After Effects, Vol. 1: The Essentials
• Creating Motion Graphics with After Effects: Volume 2: Advanced Techniques
• After Effects in Production: A Companion for Creating Motion Graphics, Second Edition
• Adobe After Effects 5/5.5 Essentials
• Adobe After Effects 7.0 Studio Techniques


Final Cut Pro

• Using Soundtrack: Produce Original Music for Video, DVD, and Multimedia
• Motion Graphics and Effects in Final Cut Pro
• Apple Pro Training Series : Soundtrack Pro


Avid Editing

• Avid Xpress Pro Editing Workshop
• The Avid Handbook
• Avid Xpress Pro and DV On the Spot


Sony Vegas

• Vegas 5 Editing Workshop
• Instant Vegas 5


Adobe Premiere

• Premiere Pro Editing Workshop