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This fluidity usually occurs when the editor knows his system inside and out.
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In post-production one of the main goals is to worry about the art and have the software all but disappear. The post-production app I saw demoed a few hours ago excited me like no other in recent memory. Let’s forget the name of the app and the company who makes it for a moment.
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The demo of FCP X amazed me in many aspects and had me craving to see more.Īs soon as the slide came up with a picture of the interface you heard many reactions, like “See, it’s iMovie pro.” Assuming iMovie pro is a bad thing then many of the crowd were set up for disappointment from the beginning. UPDATE: This morning, Craig Bergonzoni forwarded me these thoughts on the event: Similarly, audio editing handles based on selections right in the timeline - and the audio waveform moves up and down to reflect the changes.” (No Film School) “Color ranging allows for primary and secondary color correction adjustments in a very clean implementation.” “New #FCP: No rendering + No transcoding = Less storage space needed = cash in pocket” - “Fade handles right in the timeline, including right-clicking to choose type of fade - no more keyframe dots. Dubbbed “Second Stories.” Gotta love Apple’s branding for this kind of stuff.” - Macgasm
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Organization, background processing/analysis… “your timeline is no longer fragile.” - “FCP X has built-in tools making editing b-roll easier. #FCP-seem to be repackaging a lot of current features with some sugar added. Can lock audio clips with specific video clip, so if moved on timeline they stay synched (via via MacRumors) Clip Connections: Audio and Video and be locked together and be one clip on a timeline (no longer a V1 and A1 A2 track). Magnetic timeline prevents you from colliding clips.” “Inline precision editor”: makes standard edits (roll, ripple, slip) easier by dynamically expanding to reveal all source media ala iOS ( smart collection of clips and audio based on metadata and people in shot. Keeps content & secondary assets together all the time. 64-bit, OpenCL, linear float processing, background rendering, tons of automation.” - “Vastly improved linking. If there was no iMovie to compare FCP X to, no one would think it was “iMovie Pro” - “Apple is really pulling out all the stops with FCP X. “My tweet stream is divided into 2 camps: Wooo! the new FCP is like iMovie, & Crap! the new FCP is like iMovie.” - iMovie seems to be harming Apple. “Looks like iMovie/ Smoke type interface and it’s black! No longer white.” - Walter Biscardi
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People and shot detection on import as well as automatic non-destructive color balance. Content Auto-Analysis checks for image stabilization, etc. a new build, “from the ground up” (This presumably allowed Apple to skip FCP 8 and 9.) And click here for a excellent first hand report from inside the room by David Leitner. So, what’s new in FCP 10? Here are some notes, reactions and a few raves from the event as they’ve streamed invia Twitter. Many thought it would appear this summer alongside the release of the new OS, Lion, but days before NAB Apple took over the FCPUG Super Meet Up, booting all scheduled presenters and personalities (including Kevin Smith) for what became the hottest invite at the conference. The new version of FCP has been hinted at for months, and after several prominent editors were shown a demo - and made to sign NDA’s that apparently only allowed them to leak words like “awesome” - the post production community has been awaiting its official unveiling. “Something as revolutionary as the first version of Final Cut Pro when introduced in 1999.” That’s how the new version of Apple’s editing software was announced at the Final Cut Pro User Group Super Meet Up at NAB tonight.