CAT | Apple
According to an article on MacRumors today, Apple is negotiating with Studios and Producers to create original programming for Apple TV. Two thoughts.
Apple have long created their own content by running music festivals and recording the performances.
It’s been a long time coming, but I thing it was inevitable. Back in late 2009 I postulated on What if Apple or Google simply bypassed Networks and Studios? My conclusion then:
Clearly, either Google or Apple could destroy the existing content production industries without borrowing or risking their business. Just what leverage do the current middlemen really have?
It’s a strategy that’s working well for Netflix and Amazon.
I first wrote about derived metadata back at the end of January 2009. Derived metadata uses computer analysis to derive metadata from the video source. There are now technologies for speech-to-text, meaning extraction, facial detection, facial recognition, emotion detection, image recognition, and more. One company has been accumulating these somewhat diverse technologies: Apple.
You may have read that Randy Ubillos – Chief Architect, Video Applications at Apple – retired after 20 years with Apple, yesterday. I’ve had the great privilege of meeting him from time to time, and offer my hearty congratulations on his retirement, the strongest of best wishes for the future, and heartfelt thanks for largely making my career possible.
The question on everyone’s lips is “how does this affect Final Cut Pro X?” My honest thought is “not much”. There are concepts in Final Cut Pro X that clearly came from Randy’s mind, but so also did the original Premiere Pro (1-4.2), the original Final Cut (Pro) (aka Keygrip at Macromedia), Aperture where he was lead architect, and iMovie 08. There were other apps before that, and the full history can be found in Timelines 2 by John Buck.
Randy was also an important part of the team that developed Final Cut Pro X, but more in the role of supervising architect, rather than as part of the detailed group of Product Marketing, App Design, and App Architecture. The people working in those key roles remain in those key roles, and I sense nothing that would affect, or change the direction Apple are taking with Final Cut Pro X. Final Cut Pro X is in exceptionally good hands moving forward.
As I’ve written before, the tools of creative endeavor will always be part of Apple’s DNA, and therefore I expect we’ll see evolution of the tools over time, but never abandonment. There will always be professional, and consumer level, audio, video and photography apps in Apple’s world.
Professionally, I’ve benefited from (writing an unreleased book about) Premiere Pro; from decades of Final Cut Pro classic; and from Final Cut Pro X. I still prefer Aperture over Photos but I’m keeping an open mind that the metadata functions in Photos will improve. For all that, I simply say “Thank you”.
Finally, a little bit of advice from Randy, on taking “holiday videos” (I may paraphrase slightly):
At each location, take out the video camera and shoot a shot. Now, put the camera away and enjoy your holiday and the location in the present.
A very subjective take on NAB 2015 because I spent very little time looking at tech! Instead my focus was on the FCPWORKS demo room and particularly my Lumberjack System presentation on Wednesday. But, of course, NAB is also about the socializing.
CNET are reporting that the February 25th Episode (Season 6 Episode 16) was shot with iPhone 6 and iPad Air 2 (with a little assist from a MacBook Pro). An iPad Air 2 was my primary “camera” for my family history video shoot back in early January.
Out of the blue, Apple announces Final Cut Pro X 10.1.4, which includes some key stability improvements. There is also a Pro Video Formats 2.0 software update, which provides native support for importing, editing, and exporting MXF files with Final Cut Pro X. While FCP X already supported import of MXF files from video cameras, this update extends the format support to a broader range of files and workflows.
– Option to export AVC-Intra MXF files
– Fixes issues with automatic library backups
– Fixes a problem where clips with certain frame rates from Canon and Sanyo cameras would not import properly
– Resolves issues that could interrupt long imports when App Nap is enabled
– Stabilization and Rolling Shutter reduction works correctly with 240fps video
Jon Chapelle of Digital Rebellion has noted that the support for MXF is much wider than just Pro Apps. What is interesting is that the MXF components seem to be QuickTime based, rather than AV Foundation, probably for historic reasons.
As Final Cut Pro X – and other modern video apps – are built on Frameworks from the core OS, those Frameworks sometimes provide clues to Apple’s thinking. One that we care a lot about is AVFoundation, which is the modern replacement for QuickTime at the application and OS level. We’ve seen this in the transition from QuickTime Player 7, which is built on QuickTime (both QTKit and the older C API). Unfortunately AVFoundation has lacked many features that are essential for video workflows, so I watch the features added to AVFoundation as a way of understanding where video apps might go.
Firstly, there has been a massive update to AVFoundation in Yosemite, and it appears we get reference movies back.
FCP.co’s lead story today is good news for Apple and Final Cut Pro X – The BBC are adopting more than 1000 seats of Final Cut Pro X for news. To be fair, the BBC seems to be adopting both Final Cut Pro X and Premiere Pro across their own production units, and some remain on installs of Media Composer, but News seems to be going Final Cut Pro X exclusively.
My Apple PR contacts tell me that Final Cut Pro X is also being used on “several popular daytime shows” as well.
In other good news, not reported (yet) on FCP.co, the French TF1 group have also adopted Final Cut Pro X. According to this Tweet both Premiere Pro CC and Final Cut Pro X were tested, with Final Cut Pro X getting the gig.
Of course, come IBC I’m sure Adobe will share some of their new partners as well, and no doubt, increased Creative Cloud subscribers.
In this free webinar I examine Apple’s ProRes codec inside and out. Content includes:
Apple’s ProRes family is becoming one of the most common formats in production and postproduction, but how much do you really know about this code? Which version is best for your needs?
- Introducing the ProRes family
- RCBA vs YUV – what does it mean?
- Lossless vs Visually Lossless
- Using ProRes: a codec by codec guide.
Check out the trailer and register free.
I have to say that there is a lot of difference in the experience delivered by Amazon Instant Video and Apple’s iTunes.