Rumour: iMovie and Final Cut updates due with OS X Yosemite

Wednesday, 23 July 2014

A report on Apple rumour site 9to5Mac that Apple will launch retina Macs and monitors with the next version of OS X:

Also in the cards for the Mac side, sources say, are at least a couple of next-generation Mac lines. Sources say that Apple is finishing up work on both a smaller MacBook with a high-resolution display and a new desktop computer, either an iMac or a standalone monitor, with a 4K resolution screen.

The post also mentions iMovie and Final Cut:

In addition to the new hardware with higher-resolution display panels, Apple is said to be preparing updates to both iMovie and Final Cut Pro to bolster support for editing, exporting, and importing video taken with 4K resolution-capable cameras.

I'm not sure what more could be done to make iMovie and Final Cut Pro X work better with 4K cameras. Current versions of both have features ready to handle 4K, 5K and more already.

In practice the new versions of the applications are more likely to demonstrate advantages of OS X Yosemite. If we're lucky, Apple might also launch iOS apps designed to work with Macs running iMovie or Final Cut Pro X, such as remote Inspector panel or a workflow assistant.

 

 

Final Cut Pro X Subclips tutorials

Wednesday, 23 July 2014

fcp.co have gathered together a series of subclip tutorials by T Payton. As well as forum posts, the YouTube videos…

should be watched in order. All six add up to about an hour, so grab yourself a coffee!

 

There‘s more to UHD than pixels: BBC R&D on HDR video

Tuesday, 22 July 2014

Most people associate UHD with 4K - four times as many pixels. A more important aspect is a higher range of colour and brightness - High Dynamic Range Video. Recently BBC R&D took part in the European UHD standards workshop:

Currently in stills photography, due to limitations in print and screen technologies, it is usual to utlilse a "tone-mapping" algorithm to create a lower dynamic range representation of an HDR image suitable for printing or viewing on a PC screen. These tone-mapping algorithms can lead to severe distortion and poor representation of natural scenes. For HDR video, the intent is to utilise a high brightness, high contrast ratio screen to show the HDR content, reducing the need for tone-mapping.

Their belief is that further work is required amongst the various standards groups to:

identify a suitable peak brightness and suitable dynamic range to maximise the increase in subjective quality without causing physical discomfort or requiring long adaptation periods,

identify which proposal is best suited to television including live production with mixes, fades and Digital Video Effects (DVE) image shifts, and

write a final end-to-end specification for the delivery of HDR video

 

MacBreak Studio: Final Cut Pro X Used Media Ranges

Tuesday, 22 July 2014

This week's MacBreak Studio video shows how much more you can do in Final Cut Pro X 10.1.2 with media that is used in the current project and media not yet used in the current project.

While it's great to be able to quickly filter browser clips in this way, the real power of this feature comes into play in the Filter HUD.

This is the 102nd free Final Cut Pro X tutorial video from Mark Spencer and Steve Martin of Ripple Training.

My YouTube list of all 102.

 

Apple's metadata propagation patent

Tuesday, 22 July 2014

Apple has been awarded a patent that says that metadata propagation rules can be included with video files. That means you could pass on a video file with metadata that would be available to an editor but not exported when the generate new content based on the files you sent them:

Some embodiments provide a method for processing metadata associated with digital video in a multi-state video computer readable medium. The method specifies a set of rules for propagating the metadata between different states in the video computer readable medium. It then propagates the metadata between the states based on the specified set of rules.

It also describes an example when the metadata in one set of video clips can be assigned to a related set of clips stored elsewhere. This would apply if an on-set assistant had added metadata to lo-res H.264 clips on an iPad and an editor wanted some of the metadata applied to the media from the professional cameras.

It also says that the metadata could also define which parts of the high-quality media should be captured later:

In some embodiments, the method recaptures digital video from a first storage, when at least a portion of the digital video is also stored in a second storage. The method retrieves the digital video from the first storage. It identifies a set of metadata that is stored for the digital video in the second storage, and then determines whether there is an associated set of rules for processing this set of metadata when the digital video is re-captured from the first storage. If so, the method then stores the set of metadata with the retrieved digital video in a third storage.

 

Xto7 update

Sunday, 20 July 2014

If you need to share Final Cut Pro X work with those using Final Cut Pro 7 or Adobe Premiere, convert Final Cut Pro X XML exports using Xto7 for Final Cut Pro. Today's update is a bug fix:

Bug Fix for subclips when importing XML into Premiere Pro

 

New Colour features in Final Cut Pro X and Premiere Pro

Sunday, 20 July 2014

Oliver Peters: 'New NLE Color Features'

As someone who does color correction as often within an NLE as in a dedicated grading application, it’s nice to see that Apple and Adobe are not treating their color tools as an afterthought

You can see a good demo of Final Cut Pro X log processing if you click the second image. 

 

PluralEyes 3.3.7 update

Sunday, 20 July 2014

If you run an older version of Red Giant PluralEyes 3 today, you'll be prompted that there's a new version. Version 3.3.7...

You can now safely download FCPX 10.1.2 for use with PluralEyes 3.