Apple Motion 5 is a real-time motion graphics application. It could be used in workflows in a similar way to tools like Reallusion iClone 7.
In an article by Geoffrey James in Inc. he writes about how non-3D animators can quickly get results from animation systems that can produce results in real time:
With traditional computer animation, it can take hours, even days, to “render” (i.e., build) a single frame of finished film. Since there are at least 30 frames per second in finished video, it takes a lot of time and computer horsepower to do high-quality work.
With real-time animation, however, you can get draft-quality finished video as quickly as you can display it on a screen. Higher quality takes a bit longer, but render times are calculated in seconds per frame, rather than hours per frame.
While those back-end improvements are impressive, the biggest advances have been in the creation phase, which replaces highly wonky, difficult-to-use tools with scene builders and character creators that are as easy to use as word-processing programs.
As well as game engines, specialised tools are used for creating ‘quick and dirty’ animations while creativity is explored. With ever increasing GPU power, these real-time animations are getting less ‘dirty’.
In coming months and years these tools will be more prized for their ease of use than their features. A complex user interface will no longer be a barrier to creative people telling stories with animation.
Motion 5 is a 2D animation application. It can be used to make full quality real-time animations. I would suggest if Apple decides to start adding new features to Motion 5 that it concentrates on going in the direction of a 2D equivalent of iClone 7.
Right now Motion users can create animations that respond in real time to settings changes – even when the animation isn’t playing. Animators can play while they try things out – instead of setting values of various keyframes and waiting for the application to render each frame in less than real time. Once the interface of your production tool gets out of the way of your creativity, you can spend more of your time telling your story than operating your equipment.
Motion has a mode where settings values changed during playback are recorded as keyframes. That means an animator can ‘ride the faders’ like an audio engineer to change values in response to what happens on screen. This can be done again and again until they are satisfied with their animation ‘performance.’ If they have a MIDI device attached, its keys, sliders and switches can be used to set animation values during playback too. Perhaps Final Cut editors would also like this kind of animation control while using Motion 5-generated plugins during playback of their edit.
Adobe After Effects has become the ‘Avid Media Composer’ of motion graphics generation. It is the default choice of those who make money from 2D animation.
It is time Apple showed how Motion 5 is more of an ‘and’ choice than an ‘or’ choice when it comes to animation – especially as it is at its heart a real-time animation application.Read more
This video shows how to set up a new Final Cut Pro X project on a LumaForge Jellyfish creative collaboration server. What folders to create, how to set up the library so you can collaborate on your edits and make the most of the storage.
This video was made by Jonathan Morrison, who is a YouTuber with 2.3 million subscribers and over 300 million views. In it he explains the needs his studio has – sharing space and technology with other YouTubers.
Before you say ‘they are only YouTubers’ – he describes how how one of his forthcoming videos – which is likely to get millions of views – already has 8TB of media. Enough media and audience for many TV shows or feature films. As well as size of project and audience, they also have very high turnover. They make new films every few days – the kind of output you might expect from TV news documentary teams. With the Jellyfish they are able to work on five films at the same time off the same storage device.
Jonathan showed how to set up a Final Cut project on a Jellyfish:
You are now ready to edit. Once you finish editing on that workstation, you can close the library. At that point someone else on a different Mac connected to the Jellyfish will be able to open the library and work on their machine.Read more
Congratulations to Adobe and their people for being awarded two Oscars: For Adobe After Effects and Photoshop. The Academy announcement:
To David Simons, Daniel Wilk, James Acquavella, Michael Natkin and David Cotter for the design and development of the Adobe After Effects software for motion graphics.
To Thomas Knoll and John Knoll for the original architecture, design and development, and to Mark Hamburg for his continued development and engineering of Adobe Photoshop.
I started out on my journey to post production via After Effects 3.1 many years ago. It was only after ‘editing’ a three minute video with 120 shots in AE that I realised it was time to learn a proper video editing application. Easier than only being allowed to have one shot per layer!
Other winners announced today include people from PIX System, Cinema4D, Silhouette and the Medusa Performance Capture System.Read more
Today Lumaforge, purveyors of creative collaboration servers for TV and film have announced that their Jellyfish devices are now available from Apple:
Looks like Apple will be standing behind high-end storage solutions that should be enough for any kind of media production. Jellyfish servers work with groups of Final Cut Pro X, Adobe Premiere Pro CC, Blackmagic Design DaVinci Resolve and Avid Media Composer. The client computers can run macOS, Windows or Linux.
LumaForge servers are already used by video teams all over the world:
including those at Activision, Adobe, BBC, CBS Interactive, Disney, Google, NASA, Pandora, Reuters, Sony and WeWork.
With this deal Apple are pushing for a share of the high-end storage market. For now Avid sell the vast majority of high-end media storage systems.
Steve Bayes was an Principle Product Designer at Avid from 1995-2003 where he worked on Media Composer and Symphony. He went on to be the product manager at Apple for Final Cut Pro, Final Cut Pro X and ProRes. LumaForge have announced:
world-renowned video editing expert Steve Bayes has made a significant financial investment in LumaForge and will also be the first member of its Board of Advisors.
Apple are showing that they are interested in the high-end storage market – and serving the post production industry. Selling this kind of product means that Apple thinks that LumaForge can make products for the post industry. More importantly that LumaForge have the infrastructure to support their use in media organisations.
I’m looking forward to seeing what kind of support Apple gives Apple Stores and third-party resellers to sell and support this kind of hardware and the workflows it fits into.Read more
Message for the post production industry – feeding feature film and TV industry inertia has a limited shelf-life. There’s a lot of mileage in storage management and talking up the cloud to maintain your old model, but eventually there will be a new model.
Many TV shows and feature films are the story of the protagonist discovering their need vs. want they want.
What does post production say they want? What do they really need?
Haven’t needs moved on since 2008?
It's so easy to ignore user needs and reinforce existing customers' inertia in order to prevent them adapting and keep them feeding you. If that's what you really want to do.
The 16 types of inertia they should watch for are also the 16 types that you can exploit … pic.twitter.com/nHVvEHvEFR
— Simon Wardley #EEA (@swardley) December 2, 2018
This tweet from business and government strategist Simon Wardley isn’t about the post industry. The sad thing is that the post industry isn’t even at the stage of ignoring the user needs. I don’t get the impression suppliers even know what people in post need.
Creeping features like 10-bit, 8K and HDR are (sort of) wants. Wants that the current model can be stretched to deliver – for more margin and to feed the inertia.
Show me some insight into the future of storytelling technology. Or don’t – those who replace you will.Read more
The headline feature of today’s free 10.4.4 update to Final Cut Pro X includes deep access for third party developers to extend Apple’s video editing application. That’s just the beginning. The update also includes
Motion and Compressor have also been updated.
Motion 5.4.2 also has the new Tiny Planet effect as a filter. It also gets
Compressor 4.4.2 is now a 64-bit application, so it can make use of more your Mac’s memory. It gets SRT caption format support too. Plus it also is now smarter at interpreting QuickTime and MXF media to configure outputs.
Like the previous 27 updates over the last seven years, this one is free for current users. Final Cut Pro X costs $300 for new users. Motion 5 and Compressor 4 are $50 each. All three applications are available on the Mac App Store.
The applications still run on macOS High Sierra – needing 10.13.6 or later. If your version of macOS is older, the Mac App Store won’t show you the update.
The format of Final Cut Pro X libraries has changed, so any opened with version 10.4.4 will not be accessible by earlier versions of Final Cut. Before you update, Apple advise that you backup Final Cut Pro X and your existing libraries – they have a support page with more information.
The Video Applications team at Apple aren’t allowed to reveal their future plans for their tools. When new updates happen, we get an impression of ‘the direction of travel.’ Many Final Cut updates can be summarised in a sentence: ‘For YouTubers’ or ‘For high-end post production’ or ‘For corporate video.’
This 10.4.4 update in a sentence is ‘for third-party developers’ – Apple want even more third-party tools for Final Cut, and they want the existing tools to be more deeply integrated with the NLE. Until now the answer to many developers who wanted to create workflow tools for Final Cut was ‘use our very flexible XML format.’
Many in the X ecosystem thought that Apple would stop there. They thought it unlikely that they would be allowed to add their own floating windows to the finely-tuned Final Cut UI. Since the 10.3 update, video plugins have been able to show their own windows over the Final Cut UI. Now workflow extensions can do much more.
It turns out that the extra things that can be done with workflow extensions are worth the danger of third parties making Final Cut Pro harder to use.
The initial plan is that Apple will collaborate with developers who apply to them to make workflow extensions for Final Cut. They are not yet making all the tools and information available to all macOS (and iOS) developers).
Some people may be disappointed that this update doesn’t include features they have been asking for for years. I think the Apple policy is to not ‘half-implement’ many features twice a year and never go back to make them work well. They wait until they think the feature is ready. This update also shows that they keep on adding to areas they recently updated: a new 360° video tool to follow on from least year’s 10.4 update. A new caption format to follow on from this April’s 10.4.1 update.
Updates are also about fixing long-term bugs that prevent Final Cut spreading into new parts of the world and new markets. Unlike with Logic Pro, the video applications team at Apple don’t list every bug they squash, all the work in that direction is usually summarised as ‘improved stability.’
If you are waiting for a huge update like ‘collaboration re-done for the 21st century’ – updates like this are needed so that other pieces can fall into place. Parts of the application not visible to users need to evolve and be tested ‘in the field.’ For example, if the way that Final Cut Libraries store information is hard to share amongst multiple editors at a time, an update might see a storage system change that paves the way for collaboration in future.
It might be also that some features are associated with Apple’s hardware plans. New iMacs, Mac Pros and iPad Pros need applications to run. Uses that mainstream journalists can understand and pass on in coverage. Editing is a simple demo that most people can understand. A proposition such as ‘The new Mac Pro can be the centre of a creative collaboration workgroup who are working on a feature film or TV series” is clear and can be passed on easily.
Workflow Extensions are plugins that show floating windows over the Final Cut interface. They can detect where the playhead is in the current timeline and also control the playhead. They are launched by clicking a button that is added to the main Final Cut window:
Today sees the launch of the first three Final Cut Pro X workflow extensions from Frame.io, Shutterstock and CatDV.
Frame.io is an online post-production feedback system. Up until now, it has been a browser-based service for Final Cut users. The Final Cut Pro X workflow extension brings the full power of Frame.io to a window that runs in the the application.
From within Final Cut you can use the Frame.io workflow extension to upload clips and timelines. Once in the cloud, collaborators can review, comment on and annotate projects – in browsers and on custom iPhone and iPad apps. Each comment and annotation is associated with specific clip and timeline timecode.
The Frame.io Final Cut workflow extension can let editors know when collaborators are commenting – in a similar way to the way Apple Messages tells you when someone else is typing.
When editors are ready, they can use the Final Cut workflow extension to download the feedback. They will receive this feedback as project-length compound clips that can be dragged to the timeline. The clip shows text and graphic comments from collaborators at the timecodes they gave their feedback:
If multiple people are commenting, their comments are assigned their name as a commenter role – which helps editors prioritise who the respond to first.
The extension also has control over the Final Cut playhead so that as you go from comment to comment in the Frame.io window, the playhead jumps to the relevant part of the timeline.
The Frame.io Final Cut Pro X workflow extension is installed if you have Final Cut and download Frame.io from the Mac App store.
The Frame.io promotional video:
Frame.io Final Cut Pro X workflow extension tutorial:
Shutterstock’s Final Cut workflow extension gives you access to the whole Shutterstock media library in a window. You can added watermarked media from collections made in the window or from collections made by collaborators online. The media is given a ‘watermarked’ role, so can be found quickly in a project using the timeline index. Once the rights have been purchased, the media changes to the full-resolution non-watermarked version and the role is changed to say the rights have been cleared.
CatDV’s workflow extension gives you access to media in CatDV media asset management systems.
The new timecode palettes in Final Cut Pro X 10.4.4 can show both timeline timecode and source timecode. You can control-click the palettes to copy the current timecode. The source timecode palette can display clip names and roles – which are colour coded. As you move along your timeline the number of clips at the playhead determine how many timecodes you see:
Here you can see the source timecode palette displaying clip names, roles and times. Also the project timecode. If you control-click the window, you can copy the source timecode for any clip at the playhead. In this case the source timecode for the ‘Early days’ clip. You can also copy all the timecode information at the playhead by choosing ‘Copy All.’ In this case the result is plain text delimited by tabs:
Matt Andrews 00:01:24:20.55 Best teacher B-Roll, Dialogue 10:44:01:21.55 Early days Video, Effects 10:19:41:10.55
The comparison viewer can show frames from elsewhere to the left of the main viewer. You can choose to continuously show the frame at the next or previous edit from the playhead:
This is useful if you are colour grading consecutive shots to match.
As well as showing frames from the timeline, you can show one of 30 frames you have saved to a new window called the Frame Browser:
As well as clicking in the frame browser and the comparison viewer to save frames, there is command to save the frame that you can assign to a key of your choice:
You can also switch the focus from the viewer to the comparison viewer. The focus determines which is sent to external devices such as preview monitors. There is an unassigned command in the Command Editor that does this, so you can give it a keyboard shortcut if you like.
The frames stored in the Frame Browser are library-based. You can’t open library A, save some frames from it and then open library B and see the saved frames from library A.
There is a new command you can assign a keyboard shortcut that turns the external AV output on or off.
The new noise reduction effect is needed for ProRes RAW workflows – primarily designed for the kind of noise you get when debayering camera sensor data. Noisy low-light footage is less of a priority in the algorithm.
There is a way to decide when dragging in secondary storylines whether you select the whole storyline or a clip in the storyline. From the help system:
Drag to select one or more storylines: Drag a selection rectangle over the storylines you want to select, making sure to drag over the gray border at the top of a storyline first (if you don’t drag over the top gray border first, you will select individual clips in the storyline instead). When a storyline is selected, the entire storyline is outlined with a yellow border.
Tip: To select entire storylines, drag in a downward motion. To select clips within the storylines, drag in an upward motion.
Many expected that Apple would never allow third-parties to add to the Final Cut Pro X user interface. Adobe Premiere’s ecosystem has been improved in recent years by allowing developers to create panels that appear in the application. The user interfaces in these panels are created using HTML and the specification is available to anyone who wants to make Premiere tools. The Workflow Extensions system isn’t as open. I expect that Apple want to approve any third party candidates before release on the Mac App Store.
When Final Cut was first released in 2011, the policy seemed to be ‘no windows, no palettes – configure panels within the main window.’ In the last seven years, more windows have been added. I expect this was done slowly and carefully – following research that NLEs with too many panels and windows made were unwelcoming to new users and unwieldy for the majority of users. The new workflow extension, frame browser and timecode windows can make the Final Cut UI more confusing.
Since version 10.3, Final Cut has had a subtle way to make floating windows work well together. This is much more useful now that there are more windows to work with than the background tasks window and the preferences window. There is a slight magnetism when you move floating windows near each other. You have to drag a little further than normal to make them overlap. There is also a little magnetism to the edges of displays and the top edges of Final Cut panels – making it easer to align the top edge of windows to the bottom edge of a panel title bar (if you drag the window upwards) or bottom edge of windows to the bottom edge of a panel title bar (if you drag the window downwards. This ‘magnetism’ applies if a panel has a blue ‘selected’ line below the title bar:
This works especially well when dragging windows to align with with the timeline panel. Note that this action doesn’t dock the windows to the panels – if you change their proportions, the overlay windows don’t move.
Ripple Training have a YouTube playlist of seven videos explaining the new features in Final Cut 10.4.4:
The Final Cut Pro X help system has been updated with information on the new features.
Final Cut Pro X might start warning you that the codecs you have used in media might not play on future versions of macOS. Apple have a new support page about this: “About legacy media in Final Cut Pro X”