Articles tagged with: Final Cut Classic

Ex-chief architect of Apple’s video & photo applications to be interviewed live on stage

Wednesday, 17 June 2015

Those who paid attention to 'About this software' dialog boxes in the 90s who used Adobe Premiere will recognise the name Randy Ubillos.

He was the lead developer for both Adobe Premiere in the early 90s and Apple’s Final Cut Pro in the late 90s.

By the time Final Cut Pro X was launched in 2011, he was chief architect for Apple’s photo & video applications. Apple included him in many important keynotes. His presentations included demos of new versions of iPhoto and iMovie for iOS as well as iMovie ’09:

Randy retired from Apple in April this year, but he is already making public appearances. Next he’ll be at the Bay Area SuperMeetUp in San Jose on June 26th. The SuperMeetUp is one of a series of events for those who use Macs and PCs for TV and film making.

I'm happy to say that part of his appearance will be an on-stage interview where I’ll ask him about storytelling and what has driven him over the years to make tools that have changed millions of people’s lives. As well as talking about developing applications that went on to be used by professionals to make TV shows and feature films all over the world, he’ll discuss the value of creating tools for everyone else to tell their stories.

Apple opening up on the same day

That same day FCPX Creative Summit delegates will be attending a presentation at Apple's offices about the latest version of Final Cut Pro X

FCPX Creative Summit attendees have the unique opportunity to visit the Apple Campus in Cupertino and hear directly from FCPX product managers! You’ll get a unique perspective on how this video editing software has changed the industry and how it continues to innovate today.

Get an update from Apple Product Managers on the current release of Final Cut Pro X, exciting customer stories, and the thriving ecosystem of third-party software and hardware.

Representatives of Apple's ProApps team have appeared at professional events over the years, but this event marks the first time a large group of post production professionals have been invited to visit Apple.

These days we expect all live presentations to be filmed and made available on the internet within hours. This makes attending live much less essential. Despite Apple opening up more recently, they still ask that Final Cut Pro X team public presentations aren't recorded and put online. Most assume that this is part of Apple’s culture of secrecy. In practice it might be due to the ProApps team wanting to use footage they are not cleared to show online. Footage such as rushes and alternate takes from Warner Bros. recent Will Smith and Margot Robbie feature film which was edited in Final Cut Pro X.

That week is the 4th anniversary of the radical reinvention of Final Cut Pro X. Some Final Cut users hope that Apple’s invitation shows that they will introduce exciting new features as part of a birthday celebration. Although that is possible, even if Final Cut remains unchanged, it is worth visiting the mother ship to learn from those who make the software.  

Feature film edited in Final Cut Pro 7 and Adobe Premiere Pro CC

Wednesday, 30 July 2014

Today sees the premiere of 'Sharknado 2: The Second One.' Apart from the obvious high quality of the movie, there's an interesting post production story. The two editors who worked on the film used different editing applications. 

Ana Florit worked in Final Cut Pro 7, Vashi Nedomansky used Adobe Premiere Pro CC.

Scott Simmons asked:

How did you integrate Premiere Pro into a traditional Final Cut Pro 7 workflow?
So here’s how I seamlessly integrated Premiere Pro CC into a FCP7 workflow. 1. Opened the FCP7 Sharknado 2 project in my studio. 2. Relinked to the clone drive and made all assets active in FCP7. 3. Exported XML from FCP7. 4. Imported XML into Premiere Pro CC. 5. Relinked footage inside Premiere Pro CC. 6. Done.

As well as Scott's article on the post process, also read Randi Altman's article on what Vashi learnt about editing comedy from David Zucker:

“Never hang on a reaction too long…” Zucker taught him. “If you milk it, it loses its funny,” Nedomansky explains. “You have to cut away at the right moment, see the reaction to the dialog or action and then come back for more of the original reaction. If you linger, it’s death.”

I wonder if Final Cut Pro X XML will be the next interchange format for post production?

Follow Ana Florit and Vashi Nedomansky on Twitter

 

What next for Final Cut Pro X?

Monday, 07 July 2014

I was the guest on today's episode of the FCPX Grill podcast, part of my conversation with Chris Fenwick was about what the 10.1.2 update tells us about the future of Final Cut Pro X.

It seems ungrateful to immediately start thinking about future versions of Final Cut. Even grateful users can't help but think about features and bugs they hoped Apple had paid attention to in the most recent update. It is worth considering now because Apple very rarely hints as to the future of their hardware and software - one of the few times they communicate anything is in the features of the products and services they do release.

As the 10.1.2 update seemed to concentrate on improving the lot of those new to editing and those working on high-end productions, I think the next major update will look at serving the middle of Final Cut's markets.

The following graphs show how Apple's Final Cut updates have served its markets. They show which markets the major new features of each version were aimed at. The left-hand end of the horizontal axis are features that support people who use Final Cut on personal projects, free videos or videos to support their professional lives in other fields (such as photographers, architects and doctors - people who wouldn't describe themselves as film makers first). The right-hand end of the horizontal axis is for features relevant to high-end big budget feature films, TV shows and complex news gathering organisations. The middle of the horizontal axis is 'the rest of us' people who are visual storytellers ranging from videographers to indie film and documentary production companies.

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In 2002 Final Cut Pro 3 reached critical mass when pioneering TV shows and feature films took a chance on what most people saw was a prosumer editor at best.

In 2003 Final Cut Pro added LiveType to give more casual users easy access to motion graphics effects without having to invest in learning After Effects. The pros got Soundtrack - an application for sound designers and sound editors and for picture editors who had to their jobs. 'The rest of us' got RT Extreme, which made editing on PowerBooks possible - you could digitise all your DV tapes at a lower resolution and then recapture at full resolution as your online.

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In the next two versions there wasn't much for the low end - new editors had the option of Final Cut Express, whose main feature was easier access - a lower price. The middle was built up with features best suited to individual pros. Instead of adding more and more features for the high end, Apple bundled high end applications and improved links between them and Final Cut with round-tripping.

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The end of the Final Cut Pro classic range came with Final Cut Pro 7 - which was sold as part of Final Cut Studio 3. The high end was taken care of by popularisation of colour correction with Color 1.5 and 4K RED workflows, and there were a few improvements at the low end with easier online sharing and iChat Theatre for collaboration.

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As Apple gave themselves the task to start from scratch (probably in 2007), they had to choose where to focus their efforts - it wouldn't be possible to get to the range of features available in Final Cut Studio 3 in four years. They started with the low end and moved up from there.

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Like OS X, Final Cut Pro X was developed in public - many would say the fourth major version of both was the first that could be safely recommended to a wide range of traditional users.

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The 10.1.2 update has now got Final Cut Pro X pretty close to where Final Cut Pro 7 was features-wise, although the features in almost every case are implemented in a much more effective way than before. It is much more powerful at the low end, and at the high end Apple is currently leaving high-end colour and sound to other companies.

This is a roundabout way of saying that I think Apple will next fill in the middle of the graph, features for videographers, freelance editors and smaller production companies. They are also likely to use new Final Cut features to demonstrate features of OS X Yosemite - iOS 8 continuity features.

The good news is that although Final Cut Pro X is now being used for a wider range of projects by a much larger constituency of people, there is a great deal of headroom in Final Cut's future.