With the recent release of FCP X 10.0.3, a lot has been written about the ability to – at last – move Final Cut Pro 7 projects to FCP X. However, there’s another segment of videographers that can also easily migrate to the power of Final Cut Pro X: iMovie users. Let me show you how this works.

Unlike all past versions of Final Cut Pro, the latest – FCP X – makes it easy to import an iMovie Project or just the media from all your iMovie Events.

IMPORTING iMOVIE EVENTS

An Event is Apple’s name for a collection of media. Most often, this media collection comes from a single activity – a performance, for instance. However, an Event can contain any collection media.

Importing the Event folder from iMovie into FCP X adds ALL the Event media from all your iMovie projects as separate Events in the Event Library of Final Cut Pro X.

The only requirement is that the media needs to be imported into iMovie first.

Here, for instance, I have two iMovie events. Since all Events are stored in the same iMovie Events folder, when I import these into FCP X, all the media from all the Events will transfer.

To import the iMovie Events Folder into FCP X, select File > Import > iMovie Events folder.

FCP X is smart enough to know what it has already imported and, if you’ve already imported media, Final Cut will only import the media that’s new.

After you click OK your iMovie media is imported into FCP X, where each iMovie Event creates its own Event in Final Cut.

This is a very easy way to bring ALL your iMovie media into FCP X.

IMPORT iMOVIE PROJECTS

However, you may not want to import all your iMovie media – perhaps you just want to bring in one project.

That, too, is simple.

Select File > Import > iMovie Project.

Final Cut immediately displays all your iMovie projects; these are stored in Movies > iMovies Projects inside your Home directory.

Select the project you want to import and both the Project file and all its media are imported into Final Cut, ready for you to edit.

Simple and fast.

As always, let me know what you think.

Larry

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.

I’ve gotten some emails recently asking why I’m not blogging very much. In thinking about this, I realized that I tend to write blogs when I have something that speaks to a larger audience.

However, for the last few months, I write several new articles a week covering Final Cut Pro X and post them to the Editing Resource Library on my website. There’s a lot of misinformation out there about what the program does and doesn’t do. My step-by-step techniques are designed to show you exactly how make the most of this new program.

So, just to show you what’s available, here’s a list of my most recent articles on Final Cut Pro X. I have dozens of articles – all available for free – that can help answer your questions about this program.

NOTE: Visit my Editing Resources page for a list of most recent and most popular articles. This page updates in real-time.

FCP X: The Limiter Filter

FCP X: Match Audio Between Clips

FCP X: Adding Video to a Shape

FCP X: Enhancing Audio

FCP X: Compound Clip Secrets

FCP X: Animating Timeline Effects

FCP X: Adding Timecode to Clips

FCP X: Copying and Pasting Clips

FCP X: Saving Audio Presets

FCP X: Quick Color Correction

FCP X: Create a Picture-in-Picture Effect

I’ve been getting emails recently about speed issues with Final Cut Pro X. So, I did some digging to learn how to improve the performance of your system, and, along the way, discover some common trouble-shooting tips.

PERFORMANCE

FCP X takes full advantage of the Mac in terms of processor speed, drive speed, RAM and graphics cards. Decoding common camera codecs like AVCHD, XDCAM HD and others can be extremely difficult mathematically. This is no problem for an up-to-date system, but many people are trying to work with HD codecs on older laptops with slower graphics cards and minimal RAM.

These systems are fully supported as a minimum system requirement and, if you were doing minimum things (editing with DV or ProRes Proxy, for instance), then you will generally be fine. But if you are trying to work with professional formats under pressure, you need a system that is configured properly for that level of work.

The best tip for anyone who is experiencing slow response is add more RAM. I recommend a minimum of 8 GB, if your system supports it. And, if you own a MacPro, buy a faster graphics card with more VRAM. You will notice an immediate difference in speed, no matter what video format they are working on.

Another issue that slows performance, aside from the codec, is the image size. Larger images are harder to work with than smaller images.

TROUBLE-SHOOTING

Rebuilding Final Cut Pro X preferences can fix certain types of behavioral issues, but will not increase speed or performance. If a system begins to suddenly respond unreliably, then deleting corrupted prefs is a good place to start the troubleshooting. But, before trashing preferences, the first question to ask is always “How much RAM do you have and what is your codec/frame size?” before diagnosing unexpected behavior.

When the system allows you to optimize the original codec, which means to transcode it from whatever format the camera shot into ProRes 422, then optimizing is always a good idea. If the optimization choice is grayed out on the import menu, then FCP X has determined that there will be no benefit to optimizing. If you are working with a large frame size on a minimum system, you may actually be better off working with proxies and waiting until you get to a faster system before finishing at original resolution.

TRASHING FCP X PREFERENCES

There are two FCP X preference files you need to trash. However, the way you trash them varies between OS X 10.6 and OS X 10.7.

In both cases, start by quitting Final Cut Pro X. Never trash preferences with FCP X running.

OS X 10.6 – Snow Leopard

1. Type Command+H to open your Home directory.

2. Go to the Library > Preferences folder.

3. Trash com.apple.FinalCut.LSSharedFileList.plist

4. Trash com.apple.FinalCut.plist

5. Empty the Trash.

6. Restart Final Cut Pro X.

Be careful to NOT trash your FCP 7 preferences, if they exist. Pay close attention to the actual spelling of these file names.

OS X 10.7 – Lion

The process is the same, except that Apple hid the Library folder. There are two ways to reveal it:

WAY 1:

Hold down on the Option key and click on the Go menu in the Finder. The Library folder shows up as a selection.

WAY 2

Type Shift+Command+G, or select Go > Go To Folder in the Finder. Then, type ~/Library/ and click Go.

THEN:

3. Go to the Library > Preferences folder.

4. Trash com.apple.FinalCut.LSSharedFileList.plist

5. Trash com.apple.FinalCut.plist

6. Empty the Trash.

7. Restart Final Cut Pro X.

Let me know what performance or trouble-shooting tricks you’ve discovered and I’ll add them to this list.

Don’t forget that Apple has extensive Final Cut Pro X support pages here: www.apple.com/support/finalcutpro/

Larry

[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

Some interesting news this morning.

FIRST

Apple has quietly notified developers that it is preparing to offer volume purchases for business customers via the App Store.

MacNN has more about this.

The significance of this is that volume purchases of Final Cut Pro will no longer be tied to individual iTunes accounts. This might also presage the arrival of volume pricing and distribution for educational customers.

SECOND

I’ve had emails or phone calls from three different resellers telling me that Apple has notified resellers that it is offering them a one-time, two-day opportunity to buy as many copies of Final Cut Studio (3) as they want.

While this is not the same as putting FCS (3) on the open market, it does mean that the product will be available from selected retailers for a while longer. If you need licenses, contact your favorite, non-Apple store reseller.

THIRD

A large number of Final Cut Pro editors are thinking about switching platforms. Last week, my podcast – the Digital Production Buzz – had a series of discussions on switching to Avid. (Details here.)

This week, we have the product manager for Premiere Pro on the show, along with a recent Final Cut Pro post house that switched to Premiere. (Details here.) If you are thinking about switching, listen to this show first.

Larry

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

[Image courtesy Apple Inc. Click for enlarged view.]

Apple this evening provided a “sneak peek” at the next version of Final Cut Pro – now called “Final Cut Pro X” at the NAB SuperMeet in Las Vegas, Nevada.

The new Final Cut Pro is a bold move – a totally redesigned interface, 64-bit memory addressing, multi-processor support, tight integration of metadata in the project file with metadata stored in the clip not just in the project, heavy use of automation to simplify tedious tasks, and a rethinking of the entire concept of what it means to edit.

I can’t think of any other company that could so totally redefine what a non-linear video editor is than Apple. Since the release of Final Cut Pro 1, each version of FCP has contained incremental improvements. This is a complete restatement at every possible level.

As Phil Schiller, senior VP for world-wide marketing for Apple told me after the presentation, “This is a total rethinking of how we tell stories visually.”

Love it or hate it, our editing life won’t be the same again.

Oh, and did I mention — it has a ship date of June, with a suggested retail price of $299, and will be sold through the App Store (more on that in a bit).

TAKING A STEP BACK

But to look at Final Cut Pro in terms of its features or spec list misses a much bigger point that I want to reflect on for a bit. And it all revolves around a term I used in my first line – this was a “sneak peek.”

This is why you won’t see anything about the new Final Cut on Apple’s website – this is a preview, not the launch. There is still much work that needs to be done on the software.

Understanding an Apple event is like understanding a meeting of the Federal Reserve Bank. It is essential to concentrate on both what was said, and what was not said.

After the presentation, I spoke with Richard Townhill, Director of Pro Video Product Marketing for Apple (who served as the host for Apple’s presentation) who told me that “the purpose of today is to focus exclusively on Final Cut Pro, highlight some of the new features, and give people a chance to see and comment on the new interface. We will have much more to say about both Final Cut and our other applications in the future.”

Final Cut has been rewritten from the ground up and borrows a lot from other siblings in the suite. The audio cleanup and processing borrows heavily from Soundtrack Pro, primary and secondary color correction tools are taken from Color (see the screen shot below), and some of the motion effects techniques are taken from Motion.

However, this does not mean these other applications are dead – simply that Apple is not talking about them… yet.

I was reading posts this evening on IMUG and Twitter, where users were saying: “is it iMovie on Steroids?” I think this is a premature question.

[Image courtesy Apple Inc. Click for enlarged view.]

THIS IS A PRO APP APPLE DESIGNED FOR PROS

After the presentation, I went down front to talk with the folks from Apple about what I saw. And I asked Richard directly: “Explain to me why this isn’t a big version of iMovie?”

Richard replied: “We designed this to have professional features for the professional user. The reason we chose to present it here at the Supermeet was that we wanted the professional user to see it and understand what we are doing.”

As one attendee said to me after the event: “Both a Ford and a Ferrari have an accelerator, but that doesn’t make them the same car.”

Also, what viewers in the audience did NOT see was who from Apple was attending the presentation that did not appear on stage.

Somehow, I managed to sit in the Apple executive section of the hall. In front of me was Phil Schiller, Senior VP for Worldwide Marketing. The head of PR was sitting to his right. The two lead engineering directors, or VPs, were sitting on either side of me. I was surrounded by top-level executives from engineering, PR, marketing, product management — literally a dozen extremely senior executives were sitting in the front two rows.

Apple would not send this level of executive talent simply to watch the roll-out of a product that they did not care about.

SIDE NOTE: I was sandwiched between two senior engineering executives who had as much fun as anyone in the audience watching the demo and applauding. I suspect it was because they were finally seeing the public result of years of behind-the-scenes work.

Another interesting data point. This presentation was almost exactly the same one that I saw six weeks ago in Cupertino. Apple used it then to get feedback from a small group; I suspect they are using this exact presentation tonight for the same reason — to get reactions from a much larger group.

LOOKING AT THE NUTS AND BOLTS

Based on tonight’s presentation several long-standing irritants with Final Cut Pro disappear:

* Rendering is now in the background and much faster because it harnesses the power of the GPU.
* The 4 GB memory limit is gone – FCP will use as much RAM as you have installed on your system.
* FCP X now uses all the processors on your system, not just one and a half.

In addition, a flock of new features were added:
* It supports editing video image sizes from standard definition up to 4K.
* It uses fewer tools from the Tool palette (which is no longer there, by the way) by making the cursor smarter. WHERE you click something determines WHAT you can do with it.
* A lot of existing features are jazzed up (linking and grouping are replaced by the much more elegant Clip Connection and Compound Clips)
* While new features like the magnetic timeline, permanent audio sync and auto-metadata generation are flat-out stunning.

NOTE: Nothing said, or implied tonight, indicated that you would need any special hardware. My guess is that any Mac you buy now will run FCP perfectly. Also, contrary to some rumors, I spoke with Apple engineering about Thunderbolt. This is a system level I/O connection. If your Mac has it, ANY version of FCP – or any other Mac application – will take advantage of it.

[Image courtesy Apple Inc. Click for enlarged view.]

THINGS I WAS STRUCK BY

While the slide show was identical to the February meeting, the demo was not. Randy Ubillos, who did the demo, added more features and additional explanations on effects (see the screen shot above). However, I was told later that the build that was demoed was the same build that was shown in February – and that the application has moved significantly forward since that time.

In other words, what we saw tonight was nowhere near the final form of the application.

I was also very impressed that audio was not treated as an unwelcome step-child. First, the demo paid a lot of attention to setting and maintaining audio sync, however lots of little details were also obvious:

* Sample rate precision in scrolling an audio clip
* Pitch corrected audio scrolling in slow motion
* Displaying waveforms at a size big enough to see what they look like
* Displaying audio levels within the waveform that are approaching clipping (as one engineer near me remarked, “And THAT took us a LONG while to figure out.”)
* Displaying audio peaks for the entire mix that are approaching clipping
* Improved audio cleanup controls, which can be applied or ignored by the user (these look to be borrowed from Soundtrack Pro)
* Adding fades with a keystroke, or by pulling in the top corners of a clip, with four different fade shapes, rather than the limit of two inside FCP 7; these, too, borrow interface ideas from Soundtrack Pro.

THE CROWD’S REACTIONS

In brief, the crowd was loving it. Granted, many of them got well-lubricated at the no-host bar before the event, but nonetheless, everyone seemed to have a good time.

The new interface drew applause, 64-bit support and background rendering had people drooling and the new price of $299 received a standing ovation.

MY REACTIONS

I’ve been thinking hard about this since I first saw the software six weeks ago.

And, truthfully, I’m very torn. There are some features here that I really like a LOT. There are a few that I don’t like at all. But there is a great deal that has not yet been said.

And that, I think, is the key point. The devil is ALWAYS in the details.

Apple has done its usual magnificent job of previewing a new product. But this is only the preview.

I met Randy Ubillos, Chief Architect for Video Applications at Apple, after he presented the demo of the software. I told him that parts of what I saw I liked a lot and parts had me quite concerned. And I asked if Apple was interested in our feedback. He immediately said that Apple is VERY interested in our feedback, that they are listening and want to make this application something that all of us can be proud of using.

I believe him. And I also believe that it is way too early to make any final decisions about this version. There are too many unanswered questions. For example, here are some questions the answers to which are still unknown:

* The retail price for FCP is $299 – but what is the retail price of the other software parts of the Suite? Are we back to ala carte pricing?

* The application will be sold through the Mac App store. What happens to all the great data files that were available with the suite in earlier versions?

* How does FCP X work with existing FCP 7 projects?

* What other applications ship with Final Cut and how do they integrate?

* How many of our existing plug-ins, peripherals, hardware, and other gear need to be updated to work with the new software?

* Editing does not exist in a vacuum, how do we share files, clips, metadata, and project information with other software tools?

* How does it handle media?

* How has QuickTime changed to support what Final Cut Pro X can do?

* Real-time, native video processing is great for editing – however, we still need to encode to get files on the web. How?

As of tonight, Apple hasn’t provided answers to these, or many other questions. As they do, or as I’m able to find them out, I’ll share them with you in this blog and my newsletter.

As one engineer told me at the Cupertino meeting in February, Final Cut Pro is still a work in progress. We’ve seen the outline of the work – the rough cut, if you will. Now we need to give the engineers time to listen to our feedback, polish it up, and deliver the final cut of Final Cut.

ONE LAST THOUGHT

I’ve made a promise to myself to provide training on the new version of Final Cut Pro as soon as possible after the release date.

If you are interested in getting up to speed quickly on the new version – please sign up for my free monthly Final Cut Studio newsletter. As I learn more, I’ll be sharing it with you there.

And as I make new training available, I’ll announce it there first.

For now, I’m going back to the drawing boards. I’ve got a lot of new work to do.

Larry

UPDATE – April 13, 2011

I just posted an eight minute audio review and commentary on the new version of Final Cut Pro X, with Michael Kammes. You can hear it here.

A year or so ago, I wrote about a problem of digital media slowly "evaporating" when a hard drive is powered down and stored on a shelf.

You can read the first article here.

The solution is to refresh the hard drive. You can read that solution here.

Bill Lauer now asks:

A couple of years ago you wrote an article on how to refresh a hard drive using the "sudo cat /dev/rdisk0> /dev/null" or "sudo badblocks -b 4096 -p 1 -c 32768 /dev/rdisk0". I was wondering if there is a better way yet?

I never was able to get the bad block method to work. I tried 10.4, 10.5 and 10.6. Does TECH TOOL PRO’s "scan drive" command do the same thing? I really want a safe way to do this. Fast would be good also.

Larry replies: At the time the article came out a number of developers contacted me saying they were going to work on an easier solution. As of today, I don’t know of any.

However, if any reader does, please let me know and I’ll share the information.

UPDATE – JAN. 2, 2011

Bob Gobeille, who originally provided the terminal script to fix this problem, wrote again in answer to Bill Lauer’s wish.

It’s been quite a while since I’ve used Tech Tool Pro, but anything that reads the entire disk (like drive scanning) should work fine.

I use Terminal windows all the time and forget that the commands I sent you can be intimidating to those that don’t.

Since Bill wanted an easier way, I’ve attached an AppleScript that will refresh a disk with two clicks (one to select the disk, the other to run the scan). Here is a sample screen shot from the script.

Once you select the disk you want to scan, click OK. The only feedback you will get is that your disk drive activity light should go on and stay on until the refresh is done. When it is finished — and it will take a LONG time — another dialog box will come up and let you know. Here’s a sample screenshot:

This is a sample screen shot of the message you get when scanning is complete.

If you aren’t familiar with installing AppleScript, copy this script to your Library > Scripts directory. Then when you click on the script icon in the OSX menu bar, you should see it. Like this:

If the script icon is not in your menu bar, add it by running: Applications > Utilities > AppleScript Editor.app

Then open the AppleScript preferences and click Show Script menu in menu bar.

BOB’S NOTES
I’ve never tried this on RAIDed drives (I don’t have any). This reads at almost 60 MB/s on my internal MacPro drives, which works out to about 200 GB / hour. This means a scan of a 500GB disk will take roughly 2.5 hours. Different computers will scan at different speeds.

My script will only scan one drive at a time at this point.

I was tempted to have this script also check for other types of disk errors (and attempt to fix them), but you can use Disk Utility to do the same thing, using the Verify Disk and Repair Disk buttons.

As with all software, test this on a drive you have backed up first. We believe this to be reliable, but do not guarantee it.

Larry replies: Bob, this is GREAT! Thanks for taking the time to create, explain, and share it with us.

Here’s the link to the AppleScript file. This is stored as a Zip file, double-click it to decompress it, then install it as Bob outlined above.

Larry

Sigh…

In my webinar yesterday on Automating Compressor, I provided a link to an open-source X.264 codec which can be used with Compressor.

The problem is I was linking to an older version.

The current version of the codec is 1.2.16 and you can find the file here:

http://www.macupdate.com/info.php/id/24173/x264encoder

PLEASE read the instructions on the MacUpdate website, installing this codec can be a bit tricky.

Sorry for the error, I’ll correct this in the posted version of the webinar, which will be available tomorrow.

larry