UPDATED – Jan. 31, Feb. 1

Today, Apple announced the latest update to Final Cut Pro X. Following its announcement last September that the next major version of the software would include support for multicam editing and broadcast monitoring, this update delivers on that promise.

THE HEADLINES

This FREE update – now available in the Mac App Store – includes:

• Project import from FCP 7 to FCP X (via a 3rd-party utility)
• Clip relinking
• Multicam
• Layered Photoshop import
• Broadcast monitor output
• And dozens of other features

According to the Release Notes from Apple, Final Cut Pro X version 10.0.3 adds the following features:

• Multicam editing with automatic sync and support for mixed formats, mixed frame rates, and up to 64 camera angles
• Media relink for manual reconnect of projects and Events to new media
• Ability to import and edit layered Photoshop graphics
• Advanced chroma keying with controls for color sampling, edge quality, and light wrap
• XML 1.1 with support for exporting basic primary color grades and both importing and exporting effect parameters and audio keyframes
• Multiple improvements to the Color Board, including new key commands, editable numeric fields, and adjustable parameters that act like infinite sliders when dragged
• Ability to reorder color corrections in the Inspector
• Reveal in Event Browser shows clip range in the filmstrip while in List View
• Batch offset for clip date and time
• Ability to search text added to Favorite and Reject ranges
• Automatic restore of projects and Events in case of file corruption
• Beta version of broadcast monitoring with third-party PCIe and Thunderbolt I/O devices

Final Cut Pro X version 10.0.3 also improves overall stability and performance, and addresses the following issues:

• Improves performance when editing text in titles
• Improves performance when applying an effect from the Effect Browser
• Improves key-framing behavior in the Inspector, with keyframes automatically added when moving to a new point in time and adjusting a parameter
• Modifies transition behavior so that all newly added transitions use available media and maintain project length
• Fixes an issue which affected audio solo while skimming
• Resolves issues related to using Synchronize Clips with media containing a silent audio channel
• Fixes an issue in which constant speed retiming was not properly applied when using the Paste Effects command

I had a chance to talk to Apple and spend some time with the updated app ahead of today’s release of Final Cut Pro 10.0.3. This isn’t a review – I haven’t had the time for that. Instead, let me give you my initial reactions to the new features in the upgrade.

FINALLY – WE CAN CONVERT PROJECTS!!!

First, thanks to the hard work of Philip Hodgetts and Greg Clark, Intelligent Assistance has released a utility with Apple’s blessing that supports transferring projects from Final Cut Pro 7 to Final Cut Pro X called “7toX.”

As Philip told me: “We worked very hard to offer a very high fidelity conversion, so that editors can take their Final Cut Pro 7 projects forward to Final Cut Pro X’s efficient working environment.”

With 7toX for Final Cut Pro, the high fidelity translation moves Bins and Sequences from Final Cut Pro 7 to Final Cut Pro X with Keyword Collections representing Bins and Compound Clips converted from Sequences. All Bins and Sequences are recreated with no metadata or log notes from Final Cut Pro 7 being lost.

All Motion tab settings and keyframes are translated into their equivalent in Final Cut Pro X; more than 20 Transitions and 45 Filters are matched and applied, including matching Color Correction filters from Final Cut Pro 7 mapped to the Color Board; and full support for Multicam.

7toX for Final Cut Pro fully reports any variation from the original using Final Cut Pro X’s To Do Markers and the original track numbers are applied to Clips in a Project as a Final Cut Pro X Role.

This is such a significant feature that I’ll cover it more in a separate blog later this week. Click here for more information: www.intelligentassistance.com.

Apple set the standard for multi-camera editing when it was introduced in Final Cut 5 — and totally blew past it with this latest release:

• Edit up to 64 cameras simultaneously, using 4 banks of 16 images each
• Combine any video format, frame rate, or image size into the same multicam clip
• Integrate video, audio, or stills in the same multicam clip
• Sync clips automatically using audio waveforms or manually using timecode, markers, or other options
• Reach “inside” a multicam clip and resync clips, apply filters, add or remove angles, or change the angle order at any time in the editing process
• Instantly switch between proxy and optimized media during playback to maximize hard disk throughput

This feature is amazing. Far more flexible than the multicam in FCP 7, it simplifies multicam editing using either the Viewer or the keyboard. The ability to revise multicam clips even after they are edited to the Timeline is very, very slick..

However, as HD files increase in size, this will benefit from every bit of speed your hard disk can throw at it. This is a perfect application for a Thunderbolt RAID.

I know none of your clips have ever gone off-line, but with all the files I’m juggling over here, it happens to me ALL the time.

Now, we can relink clips from either the Event Browser or the Project Timeline. Linking from the Event Browser reestablishes links to every occurrence of that clip in every Project. Linking clips from the Project Timeline simply reconnects that clip for that Project.

Relinking is as straightforward as it was in FCP 7 – with the added ability to change the links in a Project separate from changing links in the Event Browser.

Importing layered Photoshop files now works the same as it did in Final Cut Pro 7. Each layer of the graphic opens as a layer inside FCP X in what is essentially a compound clip. You can animate individual layers, apply filters, scale, rotate… all the stuff we could do before in 7, we can do again.

Just a note, however, that lPhotoshop ayer effects are not supported. This means that, just as with FCP 7, you need to rasterize any layer effects in Photoshop before bringing the file over to FCP X.

Apple says that this is included in this release, but is still in beta. That’s because to get an external monitor to work, you’ll need a Thunderbolt Mac, connected to either an AJA, Blackmagic Design, or Matrox conversion box, and not all these devices are shipping yet..

AJA has just released their IO XT unit, which is their version of what you’ll need to make this work. I have been told that Blackmagic Design is not far behind; and Matrox has committed to providing gear as well – though that may be a bit farther away.

However, Apple says that while video monitoring works fine for general editing, they are not happy with the performance of video monitoring for multicam clips, so Apple is continuing to work with their partners to get the performance up to their satisfaction.

One of the features Apple first touted in FCP X was its support for ColorSync to maintain consistent color throughout editing. This is an excellent solution for editors that only need to go to the web. What’s missing is any documentation from Apple on how to set this up. I’m hoping that they will publish this workflow on their website in the near future.

UPDATE – Jan. 31: In reading a white paper from AJA about FCP X 10.0.3, I learned that the Kona/3 card is supported in MacPros using updated drivers. Check out the AJA website for more details — www.aja.com/pdf/FCP_X_and_AJA.pdf.

UPDATE – Feb. 1: Blackmagic Design announced this morning support for FCP X with their release of Desktop Video 9.2 beta 1, a free download that supports DeckLink, Multibridge, Intensity, and UltraStudio – www.blackmagic-design.com

Many file-based cameras assign names to clips that only a cryptologist could love. This update now allows you to rename clips in batches, using naming presets that you can create or modify, from about two dozen template elements.

UPDATE: I just learned that this feature is also in FCP X 10.0.2. I have a note in to Apple to see what’s new about this feature in this version.

But, what really fascinates me is the amount of refinement in the smaller details with this release. Apple seems to have worked hard polishing the details, as well as inventing the big stuff.

For example….

Apple has added more flexibility to the Color Board through additional keyboard shortcuts and the ability to enter corrections numerically.

Video scope keyboard shortcuts have changed. And Command+7 now remembers the last scope you used, rather than returning to the benighted Histogram! (Scopes have also sprouted brightness controls.)

The chroma-keyer, which was totally rewritten for FCP X, has been updated with additional controls brought over from Motion 5. Now it is easier to adjust an image for translucency, add light wrap, and tweak the background color selections to clean up bad lighting, background wrinkles, or just general malfeasance on the part of the production crew.

There’s a lot to like with these keyer settings and the whole combination is a vast improvement over the native keying in FCP 7. Sadly, though, the mask function hasn’t changed and is seriously underpowered.

FCP X now automatically backups up every Project and Event folder. This is designed as an automatic recovery system should some wayward binary bad guys corrupt a file. Backups occur every 15 minutes whenever a file has changed. Since Final Cut already saves everything you do as soon as you do it, these backups are best thought of as disaster recovery.

We can now adjust the camera-stamped date and time associated with any clip. Since this can be used by a multicam clip for syncing, this becomes a very useful addition.

Transitions now default to using available media. Gone is the preference setting for “Full Overlap,” where the entire right side of your project was pulled left to get a transition with insufficent handles to work. Now, if you don’t have enough handles (extra media before the In or after the Out) FCP will popup a dialog asking what you want to do.

New preferences are added to clarify dropped frame warnings and enable broadcast monitors.

There is now a keyboard shortcut to apply a default full-screen title at the position of the skimmer or playhead – Control+T. AND a keyboard shortcut to apply a default lower-third title at the position of the skimmer or playhead – Shift+Control+T. Both of these new titles support full font styling, but don’t come with any annoying animation.

Cool!

Apple has told me on many occasions that they are committed to improving Final Cut Pro X to meet the needs of video professionals. Their record since then backs this up.

Since Final Cut was released last June, it has had two major updates and one minor bug fix. Several of their innovative features released as part of these updates – Roles and Multicam come immediately to mind – are stunning.

I will be the first to say that FCP X had a very controversial birth. I will also say that this version of Final Cut is not perfect — there are features that I wish it had that are still missing. But, with this update, my list of “I wants” is much shorter. I’m looking forward to exploring this version in more detail and writing about it in coming weeks.

If your deadlines are getting shorter and budgets are tight; and you need a fast, powerful system optimized for tapeless editing, the latest version of Final Cut Pro X delivers an amazing range of features in an easy-to-use package.

If you haven’t looked at Final Cut Pro X in a while, it’s time to take another look. Apple’s been making major improvements.

Let me know what you think.

Larry

P.S.While working with the software, I’ve assembled a series of ten training movies highlighting how to use the new features in the 10.0.3 release. Priced at only $19.99, and offering more than an hour of step-by-step traiining, these will get you started fast and right. Click here to learn more.

His voice was magical … summoning helicopters, gonzo moose, a startled cow, a man falling sixteen stories into tapioca pudding… it was a voice that created magic out of puffs of air.

Tom Keith died yesterday, the LA TIMES reported this morning.

For those that have not fallen under the spell of a “Prairie Home Companion,” hosted by Garrison Keillor, a blank look can be forgiven. Prairie Home has been on the air since the early 1970’s. It’s a radio show, airing Saturday evenings live from St. Paul, Minnesota.

Robert Altman’s last film, “A Prairie Home Companion,” presented an evening at a show — thus forever confirming that what goes on behind the scenes is ALWAYS more interesting than what goes on in front.

But radio is theater of the mind – and that’s where Tom Keith came in. What does a grade school teacher sound like when instantly being shrunk from 6 feet to 3 inches? Or a drunken caribou stubbing his toe? Tom instinctively knew how to make the sound, and the composure to create it in real-time for a live radio show.

Sound effects that were undeniably believable and off-the-wall funny. Tom could carry an entire scene on sound effects alone.

While I have met Garrison Keillor, I never met Tom Keith. I had the pleasure of watching the show live on two occasions, plus many more when PBS would broadcast a simulcast. Garrison is the soul of the show, but Keith was its heart.

“Tom was one of radio’s great clowns,” said Keillor. “He was serious about silliness and worked hard to get a moo exactly right and the cluck, too, and the woof. His whinny was amazing.”

It struck me, as I was reading the obituary, that we all get so caught up in the technology, that we forget the magic.

Tom Keith, armed with only a pair of hands, a versatile mouth, and a light-speed imagination, brought the impossible to life.

I will miss his singing walrus, the pre-pubescent teenager forever coping with growing up, and the garbage truck backing up into a tree. Because I can see them in my mind as clearly as if I were there. And I was.

The imagination of the mind trumps the imagination of the screen — and I’m grateful Tom lived to remind me of that.

Larry

Apple announced this afternoon that Steve Jobs had died.

It is the end of an era, but not the end of a company.

I met Steve Jobs only once – in 1992. There was only time for a brief chat – we were sharing the stage at an industry event. (He, um, went first.)

But, I’ve worked with the products Steve Jobs created since Jan. 24, 1984 – when the first Macintosh was released. I switched to the Mac 27 years ago, and haven’t looked back once.

The tributes to Steve have been pouring in since he resigned as CEO of Apple and he is deserving of all the praise. What he did with Apple since his return is both amazing and legendary.

However, the true measure of his legacy is how the world has changed because Apple was in it. And here, his influence is beyond measure, because it is woven into the very creativity of the planet.

He made giant footprints.

[Updated Sept. 21 with a few extra details and the link to the free trial.]
[Updated with a link for the QuickTime update.]
[Updated with more information on Roles, and clarification on Davinci and AutoDesk.]
[Updated with clarification on XSAN.]

About two hours after Apple updated Final Cut Pro X to version 10.0.1, earlier today, I was in a meeting with key Apple product marketing folks to discuss the new features. Let me share with you what I learned.

UPDATE ACCESS
Unlike past versions of Final Cut, upgrades are only available through the App Store. In fact, if you look closely at the App Store icon in the Dock, you’ll see a small badge appear, indicating that an upgrade is available for FCP; or any other application that you purchased through the App Store.

(By the way, a benefit to upgrading to Lion is that upgrades only download the differences between the old and new software versions, which significantly reduce the download time. I’m still on Snow Leopard, so my download is, um, continuing. Some people are reporting problems with the update. I downloaded mine with no difficulty, however, if you have troubles wait a day and try again. Otherwise, the workaround is to remove FCP X from the Applications folder, then redownload from the App Store. Or contact Apple Support.)

FREE TRIAL
Also, for the first time that I can recall, Apple is offering a free 30-day trial for Final Cut. The 30-day period starts when you launch the program, so you can download today, yet not work with it till the weekend without costing yourself time on the demo.

Here’s the link: http://www.apple.com/finalcutpro/trial/

Apple also updated QuickTime with new codecs. Get more information here:
http://support.apple.com/kb/DL1396

APPLE’S KEY POINTS
As our meeting began, I asked what were the key points Apple wanted to convey with this upgrade. The answers were instantaneous:

1. Apple is committed to the professional user.
2. Apple is listening to user feedback and adding major new features far faster than they could do in the past.

I remarked that a release labeled: “10.0.1″ was hardly a new feature release. At which point, our discussion began.

VERSION NUMBERING
The new version is numbered 10.0.1 – which, given the past numbering system Final Cut used, implies this is only a minor bug-fix.

However, Apple has moved FCP X to the same numbering system that OS X uses. Using that example, the current version of OS X is 10.7.1, which we commonly call “7.1″. Using the same convention, the upgrade moved FCP X to version 0.1. In other words, Apple views this as a significant product enhancement.

HIGHLIGHTS

You've probably read the highlights on Apple's webpage (by the way, Apple also refreshed the FCP webpage with this update): http://www.apple.com/finalcutpro/software-update.html

* Media Stems Export
* XML Import and Export
* XSAN network support
* Customized timecode by project

…and others. Let me go into detail.

XSAN (NETWORK) SUPPORT

XSAN is bundled with Lion (a small fact that I forgot). However, these network features should work with any network file server provided the data transfer rate is fast enough from the server to the local computer to support media file transfers, and the server supports user permissions and record-locking, which OS X Server does.

Shared media on a server has always been supported by FCP X. However, Project and Event folders needed to be stored locally.

Now, media, Projects, and Events can all be stored on a server. Media can be accessed by multiple users at the same time, however Project and Event folders can only be accessed by one person at a time. In other words, multiple editors can now access the same project, however only one editor can be in the Project at the same time. FCP X provides a simple menu choice allowing editors to move Events and Projects into, or out of, the app as necessary.

(As a network bandwidth thought, render files are stored in the Project folder. You might want to consider putting Events on the Server and storing Projects locally to minimize network traffic. Just a thought…)

XML IMPORT AND EXPORT

The core of Final Cut Pro is metadata and XML is the language of interchange of this metadata from one application to another. From XML we can get EDLs, OMFs, and all the other acronyms that we need. However, the first step is XML. The new version supports both XML import and export. While this feature will be used primarily by developers, the benefits of this feature will be used by all of us.

At our meeting, I was shown an XML export of an FCP X project directly into a pre-release version of Blackmagic Design’s DaVinci Lite! This replicates the ability to send a project to Color, with fewer restrictions and faster export. The Apple representatives told me that all the DaVinci Resolve line would support XML transfers from FCP X. (This is a correction, as I earlier wrote that this would be supported by the entire Davinci family.)

This is great news for anyone looking to do serious color grading of their FCP projects.

Another use of XML involved CatDV. Again, Apple showed a collection of media stored and cataloged in CatDV, a great media asset manager for the Mac. We built a short rough-cut, using clips stored in CatDV then, with a single AppleEvent keyboard shortcut which activated an Apple Event — Shift+Command+X — the entire rough cut was sent to FCP X, along with all the media and project data. The whole XML transfer process took about two seconds from pressing the button to seeing the new Event with media and the Project opened in the Timeline. This was very impressive.

Two other programs that use XML transfer were mentioned:

AutoDesk Smoke. Apple demoed an FCP X export to Autodesk Smoke. UPDATE: However, Apple told me that they are working with Autodesk and collaborating to support XML based workflows for FCP X. It is not supported just yet.

Atomos, I was told, is also launching an export utility for their file-based digital recorders that transfers ProRes files and metadata directly into FCP X. In fact, more than 20 companies are in the process of announcing new utilities or programs to work with the new version. (As we realized at the launch, XML import and export is the critical first step to unlocking the flow of third-party applications.)

AUDIO ROLES AND MEDIA STEMS

We spent a long time talking about Roles and Media Stems. Roles are a new metadata category that allow you to assign “roles” to clips. The most obvious is tagging audio for export to mixing, but the benefits are deeper than that.

FCP X is trackless. This means that the “age-old” method of putting the same audio in the same track so that you can mix all your dialog separately from your effects won’t work.

Instead, we assign Roles, which is a special metadata tag similar to a keyword. Some Roles are assigned on import. FCP looks at the file and attempts to determine if it is dialog, effects, or music. (If it guesses right, you save time. If it guesses wrong, you can easily change it.) You can create an unlimited number of new Roles.

Roles can apply to video, titles, or audio. There are three default audio Roles: Dialog, Effects, and Music. All have keyboard shortcuts and you can add as many as you want. You can even add “subroles” — roles related to other roles.

You can also apply Roles to titles – say to flag all English titles or Spanish titles.

When you export, you can export all audio that is flagged with a specific Role. You can export just music clips, or dialog, or effects.

But, Roles can be a real benefit in the Project, separate from exporting. You can solo all clips that belong to a specific role. For example, you can just listen to all dialog clips.

You can highlight all clips that belong to a specific Role – for instance, display all sound effects clips.

You can make invisible all clips in any combination of Roles. This is the equivalent of turning off the green Visibility light at the left side of the FCP 7 Timeline. This is VERY cool, because now, you can hide or reveal any combination of clips that all have the same Role assigned to it.

When it comes to exporting audio, using Roles we can export all our different audio stems, for example dialog, in a single pass. Or, for multiple-language video, Roles makes exporting video in different languages simple. Turn on all the English titles and export. Then, turn on all the Spanish titles and export again. I can see all kinds of ways to use Roles in editing.

UPDATE: For moving projects to ProTools, use Automatic Duck. According to Apple, the stems are really for delivery of final mixes either as a digital delivery or output to tape using a third party app like the upcoming Media Express or VTRxchange. The Roles info is in the XML so a third party could use the metadata for a wide range of workflows.

Apple took Roles far further than simply flagging clips for export into something that can help make sense of a complex timeline.

EXPORTING
Apple added an entirely new export option to allow exporting Roles. In fact, the process of exporting a QuickTime movie is now faster – if you are working with optimized media FCP just does a simple file copy of the ProRes in the Project to the ProRes of the export. Also, you can export a master QuickTime file and have it automatically loaded into Compressor, while still retaining the master file.

Then, both Blackmagic Design and AJA have announced products that will take the exported file and output it to tape.

OTHER NEW FEATURES

We can now change the starting timecode in a Project. Timecode is set in Project Properties.

We can now add transitions to connected clips with a single keystroke. What this does is both add the transition and converts the connected clip into a connected storyline. (We still can’t add an audio transition to audio in the Primary Storyline without detaching clips, however.)

A new Theme — Tribute — was added.

If you have Lion, FCP X now supports editing in full-screen mode. However, there are no other Lion-specific features in FCP X, so if you are still running OS X 10.6, you aren’t missing anything else in Final Cut.

Exports are now GPU accelerated. In the initial version, exports ran in the background, and they took advantage of multiple CPUs, but they didn’t take advantage of the graphics card. Now, exports are significantly faster. However, in order to take advantage of GPU acceleration, you need to export in the foreground, because the GPU is shared for both exports and real-time playback of Timeline effects.

(An interesting sidenote: Given the technical specs of the H.264 codec, exporting directly to H.264 will be MUCH faster if you use single-pass than multiple-pass. Apple suggested using single-pass unless you can see a difference in image quality, at which point compress as multi-pass.)

Apple released a camera import SDK so that camera manufacturers can provide support for their latest cameras without waiting for Apple to update the software. What this means to us is that we should see cameras launch with support for FCP X built-in.

THINGS STILL MISSING

For the first time ever, outside a Steve Jobs speech, Apple announced products that are coming, but more than 30-days away. Apple publicly stated that both multicam editing and output to broadcast monitors will arrive “early in 2012.”

I tried to pin them down to a more specific date; no success.

Apple said they also fixed a number of bugs, but I didn’t have time to find out what some of them were.

There are still some significant missing features which are not addressed in this upgrade or their announcement: Retaining In and Out points for clips in the Event Browser is undergoing a debate in Apple. So is the ability to read source timecode for clips in the Timeline. Drop shadows for elements other than text and a few generators requires creating a custom Motion template. The ability to apply an effect to a group of clips, then modify that effect — think audio mixing — is still severely limited. There is no out-of-sync indicator for detached audio clips that have shifted in the Timeline. There is no way to set the default project audio to stereo.

Apple stresses that there is far more development planned for the program.

But this update is significant for several reasons:

1. The speed with which Apple was able to get it released.
2. The fact that most of these features are of interest to pro editors; an iMovie editor is not going to care about audio stems
3. The flexibility Roles provide as part of the editing process is really amazing.

If you currently own FCP X, I recommend you get the update as time permits.

Let me know what you think.

Larry

P.S. If you have purchased my Final Cut Pro X training, I will be providing a FREE upgrade later this month highlighting how to use the new features. (This update applies to all new purchases as well.) We’ll send you an email notice when our update is available. Learn more about my FCP X training here: www.larryjordan.biz/fcpx

Long-time newsletter reader and Final Cut Pro developer Alex Gollner (Alex4D) posted a blog late yesterday about a secret meeting between Apple and some of its enterprise customers in London.

You can read the entire blog here.

Here’s a summary of the key points that Alex listed in his blog, covering tweets from Sam Johnson, who attended the event:

1. FCP XML in/out is coming via 3rd party soon…no FCP 6/7 support project support coming ever it seems…

2. Ability to buy FCP7 licenses for enterprise deployments coming in the next few weeks…

3. FCPX EDL import/export coming soon…

4. FCPX AJA plugins coming soon for tape capture and layback…capture straight into FCPX bins.

5. XSAN support for FCPX coming in the next few weeks…

6. FCPX Broadcast video output via #Blackmagic & @AJAVideo coming soon…

7. Additional codec support for FCPX via 3rd Parties coming soon…

8. Customizable sequence TC in FCPX for master exports coming soon…

9. Some FCPX updates will be free some will cost…

So far, there is no official word from Apple about this.

What I find most interesting about these statements is the degree to which Apple is counting on third-party developers, rather than Apple itself, to provide missing features in Final Cut Pro X.

Next week, both AJA and Blackmagic Design are doing stage presentations at my Final Cut Pro X Event – we should learn a lot more about this latest news then.

Click here to learn more about our Final Cut Pro X event.

Thanks,

Larry

I’ve been inundated with comments on my two most recent blogs on the release of Final Cut Pro X:

#1: Ain’t Nothing Like It in the World

#2: Apple’s Challenges (with FCP X)

Late last night, Apple published an FAQ answering some of the questions that have been raised during this discussion. Notice that for the first time, they are using words like “not yet” and “coming this summer.”

I recommend you read this.

http://www.apple.com/finalcutpro/faq/

Also, yesterday I heard a reasonably substantial rumor that Apple has decided to re-release Final Cut Studio (3) back into the market. I checked with my sources at Apple and was told this was NOT true.

I still think this is a serious mistake and urge Apple to reconsider – it does not hurt the launch of FCP X to also sell Final Cut Studio (3).

By the way, I want to reiterate something I said last night at the LAFCPUG meeting – it is way too early to make any final decisions on Final Cut Pro. FCP X is in its infancy. Apple IS listening to the discussion. To my way of thinking, Apple totally blew the launch of FCP X and needs to move quickly to fix things. Before you make any final decisions for yourself or your company, wait a bit. My suggestion is a month.

At the end of that time, passions will have cooled, Apple will have time to respond, and we will all have time to think. It is always better to make decisions with a cool head after thinking about it for a while.

The situation many editors find themselves in is difficult, but not hopeless. Give this a little time to play out.

I’ll have more later this week – still trying to wade through all the email — thanks to everyone for writing.

I am always interested in your comments.

Larry

P.S. By the way, I read every email and every comment, but I am just buried in trying to answer them all. I’m sorry if I haven’t gotten to yours yet.

There are about 85 emails in my in-box this morning with links to a speech I gave at the April Final Cut Pro User Group about my reactions to Apple’s presentation of Final Cut at NAB.

While I stand by most of my remarks, there was one unfortunate moment where I said, with a special dramatic emphasis for the crowd, that Final Cut Pro X was not ready for professional use.

I believed that then. I don’t believe it now.

When I made that presentation to the LAFCPUG, it was the week after NAB; a week after Apple presented the new version of Final Cut to the world. When I watched that presentation, I was watching it through the prism of my experience with Final Cut Pro 7 and all I knew about the application was what Apple showed on stage in their demo.

How could anything that radically different equal what we already had in Final Cut Pro 7?

I knew this new version was far more than iMovie – but, at that time, I didn’t think it was Final Cut Pro, either.

Its no secret that Apple gave me rare access to the software by inviting me to a demo of an early build of the software in February this year. However, what is not known, is that they also gave me permission to contact their development team to discuss the new version.

After NAB, and after my presentation at that April LAFCPUG meeting, I finally had time to follow-up on Apple’s offer. And I did. A lot.

I peppered them with questions:

• Why did Apple decide to totally reinvent the interface?

• Why did Apple feel they couldn’t simply do an incremental improvement to what we already had?

• Why did they only talk about Final Cut Pro?

• Why did they add the features they did?

• Why did they not mention others?

• What did they view as the future of editing, and who did they see doing the work?

While I can’t tell you what Apple told me until after the NDA lifts with the release of the product, I can tell you that what I learned during those conversations has completely changed my opinion.

Because so many of us base our lives on this software – both creatively and financially – there is a lot of stress whenever a new version comes out. Especially a radically different new version.

I understand, I feel the same stress.

But I no longer feel, as I once thought, that this is a step backward. Based on what I learned during my conversations with Apple, I believe this release provides us with an opportunity for a large step forward.

Now, we just have to wait and see what Apple ships.

For many of us, this will be a giant leap into something truly exciting. There is a lot of news to share and I can’t wait to tell you more about it.

That day can’t come soon enough.

Larry

I’ve been reflecting on all the hype surrounding Cloud-based file storage recently.

To hear some industry pundits describe it, the Cloud – where we store our data on servers located outside our office or home – is the most incredible event to hit technology since the invention of the microprocessor.

This may be a bit exaggerated, but in looking at the recent press, there is a strong feeling of “jump to the Cloud now, or die!” My point is that jumping to the Cloud could kill you.

THE CLOUD HAS SOME SERIOUS HOLES IN IT

The Cloud is an attractive idea. By storing all your media on a central repository “out there,” you can access it safely from anywhere, without duplicating media.

Attractive, that is, until it doesn’t work. For example, the Cloud failed spectacularly for Amazon this last week, shuttering access to dozens of websites around the world, locking up data in an outage that lasted for days.

Or when it gets hacked. As happened to the Sony Playstation Network, with the theft of personal, and perhaps credit card, data for tens of millions of users.

Or when the vendor goes out of business and takes your data with them when they fail.

These are not small companies with an immature IT staff. These are among the biggest, most technically savvy companies in the world.

As David Chernicoff wrote on ZDNet: “The choice [to store your media in the Cloud], of course, is [up to each company], but it does beg the question. I might choose to bet my business future on a cloud provider, but if it’s up to me, there had better be a very effective plan B in place.”

Now, more and more companies are jumping on the bandwagon of providing access to technology, or storage for our data, from the Cloud. The problem is that you have far more to lose than they do.

Cloud-computing is totally unregulated. Each vendor has it’s own proprietary system for storing and protecting your data. There are no standards, regulated levels of service, or penalties if standards are not met. In other words, if a vendor doesn’t live up to their promises, the person that suffers the most is you.

Clearly, as researchers at Princeton University wrote in a recent report, “One potential solution to this issue is strict regulation and standards within the realm of cloud computing. Measures need to be put in place, ranging from mandatory breach notification laws (which eighteen states currently lack) to stringent security enforcement requirements. These regulations and standards already exist in the world of e-commerce (which processes millions of credit card numbers a year without much incident). The Federal Trade Commission (FTC) just needs to update their regulations to keep up with the cloud computing craze. This fact has not escaped the Senate, which has recently motioned to push the FTC to begin regulating both security and privacy in the cloud.”

Driving this concern home is that, if you believe the rumor sites, Apple is working on integrating the Cloud with the next version of Mac OS X. I would like to see Apple take the lead in establishing a system of standards to help us judge the quality, security, and availability of our data on the cloud.

Or, at a minimum, look at what is being done by the Cloud Security Alliance.

A LOOK BACK AT THE CLOUD

As readers of my monthly Final Cut Studio newsletter know, I’ve been skeptical of the Cloud for a long time. My biggest concern when we move critical data to the Cloud is that we lose control over it. We can access it, but it also becomes far easier for others, unapproved by us, to access it as well. However, in spite of the risks, I’ve realized that it is time to modify my opinions and I wanted to share my thinking with you.

It could be argued that Cloud computing began with email. Today, almost none of us could survive for long without access to email from wherever we are.

As has become obvious with the explosive growth of Twitter and Facebook, the world is rapidly moving to virtual connections. Rather than meet in an office, we are increasingly meeting on-line. Rather than direct, face-to-face communication, messages are increasingly electronic, remote, and terse.

Whether this is good or bad isn’t the issue. It is clearly where the world is headed.

The only way social media sites like Twitter, FaceBook, and Linked In can function is via the Cloud – where all messages are aggregated on remote servers.

Or, take Google Calendars or Google Docs. These web-based services make it easy for individuals who are widely scattered geographically to work together on a project.

There has to be recognition by vendors providing Cloud storage that the value of the assets stored on their Cloud services are greater than the cost of the access fees they are charging.

If you are unable to meet the delivery date for your movie because your cloud-storage vendor is unable to provide you access to your media, as happened last week with Amazon, the actual damages you suffer are far in excess of the access fees you pay per month to store your data. The vendors lost a few servers, we lose projects, credibility, deadlines, and clients.

In the recent case of Amazon, their offer to provide a refund of ten-days access fees is laughable, considering the total loss of business their crash created. Storage providers, for obvious reasons, are totally unwilling to assume this level of liability. The only way we’ll figure out what constitutes “adequate compensation” is through the courts. Is the value of your media that is stored on a remote server, the cost of the server, the cost to access the server, or the cost to replace the media that was lost?

These are very thorny questions.

REVIEW VENDOR ASSUMPTIONS

Being able to access media assets from the Cloud makes several assumptions which you need to evaluate to determine if they are true for you:

Assumption 1: You are always able to access the Internet at reasonable speeds.

Fallacy: Last week, I was in a smaller-sized city in Wisconsin for several days with no wireless or wired access to the Internet. I didn’t plan it that way, but that’s how it turned out. Are you always going to be in a place that provides high-speed Internet access?

Assumption 2: There is great convenience in accessing your media from anywhere.

Fallacy: Your ability to access, or upload, media to the Cloud is totally controlled by the speed of your local Internet connection. Each week, I need to transfer 4 GB of data from Point A to Point B. Even files as small as this take several hours, assuming the transfer goes right the first time. Using the Cloud for storing source media provides virtually unlimited storage, which is totally gated by the speed of my local Internet connection.

Assumption 3: Your data is secure in the Cloud.

Fallacy: As Sony made abundantly clear, 77 million people’s data would have been far safer if it were NOT stored on Sony systems. The chances of my personal data getting hacked on my servers is far smaller than if I put my data in a vast pool with everyone else. As Willie Sutton said when asked why he robs banks, “because that’s where the money is.”

Assumption 4: Your data is safe on the Cloud due to redundant systems.

Fallacy: Again, look at Amazon, or Cloud Foundry, or Sidekick/Microsoft. Extremely experienced IT staff, redundant systems, well-capitalized companies; yet each had a total system collapse lasting multiple days resulting in both business and data loss.

As you evaluate what materials to store in the Cloud, ask yourself the following questions:

1. What happens to my business if the files I’m storing in the Cloud get lost?

2. What happens to my business if the files I’m storing in the Cloud get released into the Internet, outside of my control?

3. What happens to my business if I am unable to access the files I’m storing in the Cloud?

4. What compensation will you receive if something goes wrong and is it proportional to the damage you will suffer?

Cheap is not the best option when the files you are risking are so very expensive to create.

THERE IS ROOM FOR HOPE…

There are some interesting experiments in Cloud-based computing that I am following with interest.

For me, the power of the Cloud lies in sharing information easily between partners, while the data remains safely stored locally.

Scenios is one. They provide “Cloud-based software that helps you manage your productions more effectively… and more profitably.”

DropBox is another. Here you are using the power of the Cloud to transfer files, but not permanently store files. While you can, leaving files stored in your Dropbox, this exposes you to the same risks of data loss or data breach that I was talking about earlier.

I’m interested in hearing about other Cloud-based services that you are pleased with. Share your comments with the rest of us.

Ultimately, most of our file storage will be Cloud-based. But, for those of us storing massively large files that are very difficult to replace, take the time to ask yourself these four questions and make sure you understand the answers.

My key point is to be skeptical of all the marketing claims and keep in mind that it is rarely a good idea to get lost in a Cloud.

Let me know what you think.

Larry

‘TWAS THE NIGHT BEFORE SUPERMEET

I’m writing this at 9:50 PM from my hotel room at the 2011 NAB Show (National Association of Broadcasters) in Las Vegas, Nevada.

In less than 24 hours, we will know what the next version of Final Cut Pro will look like. If we are lucky, we may also learn the future of other software in the suite – Apple certainly has enough stage time to tell us.

What I am intrigued by is not what Final Cut Pro looks like – unlike most of the world, I’ve already seen it. What I am curious about is how much it has changed since Apple first revealed it.

When Apple presented the software to the group, they asked us to provide feedback. I provided a great deal, and I’m sure others did as well. I’m curious as to how Apple responded to what they heard.

I will be at the SuperMeet tomorrow, listening and taking notes. And, I’ll do a second NAB blog posting after the meeting about what I learned. But give me a few hours — initial reactions are not always accurate. I want to hear what Apple says, then allow myself some time to think about it.

Nonetheless, I’ve been reflecting about tomorrow night’s blog for almost two months. I’m looking forward to sharing my thoughts and – even more importantly – getting your reactions.

Tomorrow night is going to be … a jaw-dropper!

- – -

NABSHOWBUZZ.COM — LIVE FROM NAB!

My podcast – DigitalProductionBuzz.com – is at NAB, recording interviews and creating shows. Our first dozen interviews are online – we are posting interviews as fast as we get them recorded and edited. Then, we gather the highlights from our interviews and post a new BuZZ every night.

If you want to hear the newsmakers themselves, explaining what they are doing – in-depth interviews you can listen to quickly — take a listen to our NAB website: www.nabshowbuzz.com.

We haven’t done anything like this before and we are very interested in your reaction!

We hope to create about 20 interviews a day for the next three days, then create NAB Show Specials for the next week.

You’ll find everything posted here: www.nabshowbuzz.com.

- – -

LARRY IS A TWIT!

Well, ah, maybe that’s overstating things a bit. Let’s not get carried away.

Still, Leo Laporte invited me to be his lead guest at the start of his NAB coverage this morning on TWIT.TV. I was on for 15 minutes.

Plus, I’m invited back for an hour-long discussion on media this Wednesday morning on MacBreak Weekly. It will start sometime between 10:45 AM and 11:00 AM – Las Vegas time – this Wednesday.

See you then!

P.S. Thanks, John Stealey, for the screen-shot!

- – -

ARCHIVING UPDATE

I spoke with the president of The Tolis Group yesterday during our setup at NAB and discovered that they have an LTO-tape-based archiving solution, called BRU, for less than $4,000.

I told him that I could not find it easily on their website, at which point he and his webmaster and I are going to meet later this week to discuss this further.

However, I promised in my recent blog that if I discovered anyone with a reasonably-priced, LTO-based archiving solution that works on the Mac, I would mention it here.

BRU is highly-regarded and I’ve received many positive reviews of their gear from readers. Feel free to check it out for yourself.

The Tolis Group: www.tolisgroup.com

- – -

ADOBE’S BIG ANNOUNCEMENT

Adobe announced new upgrades today – they are releasing CS 5.5. But what really caught my attention was their announcement that they were now allowing you to rent their software.

Suspecting this was yet another ploy to get our data in “the cloud,” I spoke with Scott Morris, senior marketing director for Adobe.

What he told me was that when you rent software, your data stays on your system. “This is not software as a service,” he said. Instead, you are buying the full-featured software and installing it as usual. However, when you activate the program, it contacts an Adobe server to find out if this is a purchase or a rental.

If it is a rental, then each time the application starts, it pings the Adobe server to see if the rental is still valid. If it is, the program launches. If it isn’t, the program doesn’t launch.

In all cases your data is safe. If you send your files to someone who has the full program, the files can be opened, modified, and saved. If you stop renting for a few months, then start renting again, your files open exactly as they were last saved.

To me, this is a very elegant solution for people that need the power that Adobe software provides, but can’t justify the upfront cost of the purchase price. What I REALLY like is that our data remains “our data;” it is not forced to be stored somewhere “on the cloud.”

Weblink: Adobe Systems – www.adobe.com

For more details, listen to the Scott Morris interview.

- – -

AVID’S BIG ANNOUNCEMENT

Avid didn’t announce any new products – except for a technology demo of much tighter 3D integration within Media Composer which makes the process of handling 3D materials much more seamless.

However, what did catch my attention was that Avid announced a cross-grade for all Final Cut users to the latest version of Media Composer for only $999.

For more details, listen to the Maurice Patel interview.

- – -

HD IS THE NEW SD

It seems the video world is moving to higher resolutions.

Both Blackmagic Design and AJA announced support for 4K resolution playout. RED showed their Epic camera shooting 5K images. And Sony announced a new F65 camera that shoots 8K.

Clearly, the lesson is buy stock in companies that make or sell storage. These file sizes are going to be massive… And when you add stereo 3D, all your file sizes double!

Just as a rough guide, a 4K file is 4 TIMES bigger than a 1080p file. An 8K file is four TIMES bigger than a 4K file.

For more details, listen to the Nick Rashby interview.

- – -

THUNDERBOLT IS STARTING TO APPEAR

We are seeing previews of Thunderbolt support from a variety of vendors — AJA and Blackmagic Design for image capture and playback; and Promise, G-Technology, and LaCie for hard drives — there are probably others that I didn’t make note of.

Thunderbolt is in the very early stages of adoption – the real roll-out will occur this summer. But it promises to be everything we could want for speeding up data transfers and handling the massive file sizes we are about to experience.

Sigh… Just watch. Someday, not that far in the future, we’re gonna say: “Boy! I wish there was something seriously faster than Thunderbolt.” We are never satisfied…

- – -

More later, I’ll write again after Supermeet.

Larry

[ The following article was taken from my FREE Final Cut Studio newsletter for February.
Subscribe here. ]

The release of any new hardware is exciting; as we saw last week with the release of the new MacBook Pros.

However, the stunning news is the new Thunderbolt (née Light Peak) I/O technology. The ONLY reason this exists is because of the Pro market. The greatest novelist, or spreadsheet junky, in the world has absolutely no reason to get excited about this. FireWire meets their needs perfectly.

But for people pushing pixels (or waveforms) this is a birthday present come early.

WHAT IS THUNDERBOLT?

Thunderbolt is a very, VERY fast I/O (input/output) communications protocol (10 Gbps or 1.25 GB/second) that supports both hard drives and monitors. This is faster than anything else on the market.

Apple’s Thunderbolt white paper states:

For time sensitive data, such as video and audio during creation and playback, data transfer can be critical to the success of the work. Thunderbolt technology was specifically designed with video and audio applications in mind with inherently low latency and highly accurate time synchronization capabilities.

Currently, Thunderbolt is supported only on MacBook Pros. However, I have every expectation that this connection protocol will be added to all future Mac systems. (I don’t see it being added to IOS devices simply because they don’t hold enough data to require these kinds of transfer speeds. Well, at least not yet.)

Today, Thunderbolt connects two devices using copper wires, but the protocol has already been developed to support optical fiber as well, which provides longer cable runs and faster speeds; though without the on-board 10 watts of power.

The great news is that, unlike FireWire and USB, the protocol does not slow down when you have multiple devices attached to it.

Additional features include:

• Dual-channel, each 10 Gbps
• Bi-directional, equally fast in both directions
• Dual protocol, PCI Express for hard disks and DisplayPort for monitors
• Daisy-chain-able, supports up to six devices per channel
• Woks with both copper and fiber cabling, fiber allows longer cable runs
• Low latency, very, VERY short delays in transferring signals
• Delivers up to 10 watts of power over copper wiring, but not fiber, to support bus-powered devices. (Though this is not enough for most hard disks)

In short, this is some amazing technology!

For those that want an overview, here’s the relevant page from Apple on the technology: http://www.apple.com/thunderbolt/

For those that want more technical details, here’s Intel’s website on the new protocol: http://www.intel.com/technology/io/thunderbolt/index.htm

Here’s an additional analysis from Storage Newsletter: http://www.storagenewsletter.com/news/connection/analysis-intel-10gbs-thunderbolt

HOW FAST IS IT?

Remember the first time you saw Han Solo go into warp drive in Star Wars? It’s THAT fast!

It is:

• 10 gigaBITS per second (10 Gbps)
• 1.25 gigaBYTES per second (1.25 GB/s)
• More than twelve times faster than FireWire 800
• More than twenty times faster than USB 2
• Faster than USB 3, mini-SAS, FibreChannel, and all flavors of SCSI.

It is dazzlingly fast.

(This chart was published on Apple’s website.) PLUS, the spec calls for speeds ten times faster – up to 100 Gbps – in the near future. (No, not next week.)

Keep in mind that the only way you can take advantage of this new system is using a RAID. A single hard drive, no matter how large, does not begin to provide the speed offered by this new protocol. To take advantage of all the speed, you’ll need to invest in a RAID system.

UPDATE – Mar. 3, 2011

Adam Lloyd Connell sent me the following link to an EndGadget demo using Final Cut Pro.

http://www.youtube.com/watch?v=CCz_c_rDAXw

WHAT SUPPORTS THUNDERBOLT NOW?

Apple’s three latest MacBook Pros.

That’s it. No other hardware is currently shipping that supports the protocol.

On the other hand, until Apple ships a device containing this protocol, there is no incentive for any hardware manufacturer to create devices to support a protocol that doesn’t exist. First, Apple needs to ship something, then, the rest of the technology world can start to support it.

As always, this will take some time before we see actual products ship.

WHAT WILL SUPPORT THUNDERBOLT IN THE FUTURE?

Both Promise and LaCie have announced new hard drive systems that will support this protocol and both will be shipping in a few months.

I also sent emails to friends in the hard drive industry and every single one of them is frantically studying the new protocol so they can add it to their product line.

My expectation is that we will see Thunderbolt support on hard drives – more specifically RAIDs – sooner than on monitors. With nothing from any vendor before NAB in April. I expect most shipments to start in the early summer.

As one hardware vendor wrote:

Thunderbolt is THE hot topic of discussion everywhere. What happened is that when it was being developed, Apple went to Blackmagic Design, AJA, Promise, Western Digital, LaCie & even CalDigit to see if they’d be interested in being 1st onboard the tech, so it’ll be interesting to see what AJA, BMD & the rest will come out with. We already know Promise has a 4 bay and a 6 bay TB product line called "Pegasus" which doesn’t ship till April and LaCie has a new TB 2 bay, that I know of.

I don’t think it’ll kill FireWire anytime soon & our mini-SAS 8 bay product is still selling very solidly and will continue to do so at nearly 1000 MB/s with the ATTO R680 card.

CAN THUNDERBOLT BE RETROFIT ON EXISTING COMPUTERS OR STORAGE?

No.

Based on what I’ve learned so far, support for Thunderbolt can not be retrofit into current RAID technology. It requires a new chipset from Intel on both the computer and RAID to support the protocol. Also, the chipset does not look like it can be added via a PCIe card into a MacPro.

WHAT DOES THUNDERBOLT MEAN FOR THE FUTURE?

Thunderbolt is absolutely, and only, designed to meet the needs of the Pro market. No consumer needs speeds this fast – they can use it, they can appreciate it, but they don’t NEED it. Pros do.

To me, this is a strong indication that Apple has not forgotten the needs of Pro users. Which is a very good thing — for all of us.

Larry