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It’s a competition piece, so if you’d all like to go to http://indi.com/7fqks and vote for Marlon Braccia, we’d appreciate it.
Edited in FCP X I used significant amounts of speed change, chroma key, crop and blur on the background. Those in LA can see it in person, and learn how it was done in detail at the August 24 meeting of LACPUG.
When I discovered I could do in two keystrokes what took 9 mouse clicks and keystrokes in Soundtrack Pro, I never looked back and now edit all my audio only projects in FCP X.
I got together with Marcelo Lewin of DigitalMedia Pros and explained how I do it.
I cut a short 30 minute competition entry for a friend today. A relatively simple single-take green screen over a Pond 5 background she purchased.
Except we used a bunch of technologies that were all non-existent just a few years ago.
Starting with some Blackmagic Design ProRes files, we:
- Sped up the talent about 20% with no visible or audible artifacting
- Keyed out the green background by using the built-in keyer in FCP X at the default settings
- Repositioned the talent to better fit the background shot
- Slowed down the background to 66% with no visible artifacting
- Applied a real time blended mask and gaussian blur on the background (over a duplicate, not blurred copy to simulate depth of field
- Used the Color Board to reduce the exposure on her face, while using a mask so her eyes continued to sparkle
all in real time on a 2015 Retina 5K iMac and Final Cut Pro X.
It wasn’t that long ago that applying a soft edge to a mask; or any gaussian blur, or any chroma key meant a render before playback.
Like in the machine learning/AI field, the video technologies also keep getting better all the time.
Since starting work on the Lunch with Philip and Greg I’ve battled a little with the multicam. Largely because I’m using it in an atypical way, although I suspect setups like mine will become more common in the future.
My solution was Automator actions, triggered by Function keys and activating an AppleScript, so that the mode is first switched to Video Only (for angles 1 or 2) or Audio only (3, 4 and 5) before switching to the angle. It reduces a lot of repetitive strain injury potential!
The tutorial is over at FCP.com, but here’s a little background.
The Final Cut Pro X Creative Summit is on again in October this year.
Three days of cutting-edge training on the latest FCPX and Motion.
Hear directly from Apple Product Managers. Learn from top industry experts.
Apparently I slip in as an ‘industry expert’ with these sessions
10:30am Saturday Using Transcripts in FCPX
10:30am Sunday Production Kit in a Bag
We were discussing metadata in Final Cut Pro X after dinner last night, as one does, and Greg challenged me to think about the difference between Roles and Keywords (Ranges).
I’d spent time thinking about how best to translate metadata from Lumberjack into FCP X before we gained organizational folders for Keyword Collections in an Event, and was mildly surprised we didn’t have anything we thought would map well to Roles.
And that was the last time I thought about it until last night. It took a minute or two, but then it hit me, and it was totally obvious why there was no place for Roles in a “logging and pre-editing” tool.
Keyword Ranges (and Collections) are for organizing Clips.
Roles are for organizing a Project (timeline), and I guess for exporting information to Producer’s Best Friend where we make good use of Role information.
In this episode I get to spend a lot of time talking about the background the Lumberjack System, in the context of the very unsexy topic of workflow, particularly automating the workflow. I share many of the background decisions related to Lumberjack System – our logging and pre-editing system for Final Cut Pro X – including why it’s limited to FCP X.
Other topics include automation; Digital Heaven’s announcement of SpeedScriber; how Lumberjack has developed based on user, and use, feedback; the post NAB development of noteLogger; Prelude LIveLogger and the Premiere Pro ecosystem and NLE market shares; how development resources are allocated.
This certainly isn’t the first time Apple have filed for “Works with” Trademarks, and that’s what makes it interesting. Previously these type of trademarks have been for Apple Ecosystems, like iPhone, iOS, iPad, CarPlay, AirPrint, et al.
While I have no idea what it might mean – developers have no clues yet – it is interesting that iMovie and Final Cut Pro X are being considered as part of a larger ecosystem. For those who don’t know, these days iMovie is a version of Final Cut Pro X with a simplified interface.
Terence Curren and I recorded our thoughts on NAB 2016. Topics covered include general impressions of NAB 2016, and why Terry did not attend this year; Blackmagic Design Resolve; Avid’s business; market fragmentation; HDR and expanded color gamut; Studio Daily’s Top 50 influencers (including Philip); Zcam; Lytro cam; VR; innovation; Apple watch and NDA’d Final Cut Pro X preview.
If it’s September, it’s time for IBC – the kinder, gentler, European version of NAB! In 2013 I made my first exploratory trip to see if we should attend IBC and had few commitments. Second trip last year and Lumberjack shared a table at the Supermeet with FCPWORKS.
This year we’re once again teaming with FCPWORKS and Soho Editors by being part of the FCP X Expo. It’s a short walk from the RAI and Greg, Cirina and I will be there most of Saturday and Sunday, until we head to the Supermeet.
If you’re at IBC, come say hello at the FCP X Expo which will be the center of all things Final Cut Pro X at IBC, or at the Supermeet. We’re happy to talk about Lumberjack System, or any of our Intelligent Assistance tools. I’ll be helping Sam Westman with his Feature Film Workflows session at 12:50 on Saturday the 12th September.
Join FCPWORKS’ Sam Mestman on a crash course in feature film metadata prep and on-set workflows. Sam will also co-present an enhanced documentary feature workflow with Lumberjack System’s Philip Hodgetts. Shoot for the edit and maximize the potential under-the-hood of Final Cut Pro X
I’ll be focusing on how Chuck Braverman Productions used the transcription feature we built into Lumberjack System on their two OJ Simpson documentaries for the A&E Network. We announced Lumberjack’s ability to import transcripts into Final Cut Pro X at NAB. In fact we had worked closely with Braverman Productions to make that feature work for them. I’ll be sharing their story.
Grab a Lumberjack pouch from us there, or stop by our table at the Supermeet and we’ll give you one of these usual little pouches there.
Throw in at least three Lunch with Philip and Greg recordings while we’re there (although I think one will be an evening “lunch”) and it’ll be a busy week.
Particularly since I also want to record a couple of The semiSerious Foodies episodes (coming soon) in Amsterdam (Dutch pancakes and Filet American) as well as in Barcelona where we’re heading first.
All with my “fits over my shoulder” production kit!