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Articles
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Written by Dan Berube
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Monday, 03 September 2007 |
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2007 FCPUG NAB SuperMeet Magazine  What's inside the 92 pages?
- The FCP Phenomenon by Rick Young
How the FCP Movement grew into a Worldwide Phenonenom
- Editors Shopping List by Noah Kadner
What kind of Final Cut Pro system should I get?
- FCP Top 5 Feature Requests by Sharon Franklin, Lisa Brenneis, Nick Meyers, Kevin Monahan, Angus Wall, Shane Ross, Walter Murch, Tom Wolsky, Ned Stoltz
We asked nine editors and FCP gurus if they had 5 feature requests for a future version of Final Cut Pro, what would their top five be and why. some of the requests are surprising but many are probably your top five too.
- iRevolucion (Simplemente Enchants Mexico with FCP) by Noah Kadner
Mexico City Digital Production House and Apple VAR, Simplemente enchants Mexico with Final Cut Pro
- The Death of the Rabbit is in the future - by Gary Adcock
Many of the things learned in the DV era no longer apply in the process of HD Post
- Automatic Delivery of Work- in-progress to Clients - by Philip Hodgetts
How to use a RSS feed as a convenient, automatic way to deliver revisions of a work in progress automatically to a client via iTunes (or other podcast catcher).
- Voice Over Slipping - by Steve Martin
In this QuickTip, Steve Martin will show you a time-saving technique for keeping your narrations or voice overs on the same track while maintaining a consistent voice over duration.
- Clip Collisions - by Andrew Balis
One of the most common scenarios that every Final Cut editor will run into at one point or another is a clip collision.
- Jelly Time:Designing Buttons for DVD Studio Pro - by Christopher Phrommayon
The client wants motion menu buttons that not only look like jellyfish, but also act like them in transparency and fluorescence. Using Adobe Photoshop, we'll design a jellyfish button that is semi-transparent, and glows when selected.
- Cutting HDV on a MacBook Pro - by Aidria Astravas
A common question many editors ask is whether to purchase a laptop or desktop when working with HDV footage.
- Worldwide Listing of Apple Accredited Training Centers
- Worldwide Listing of FCP User Groups
Sponsors 
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Articles
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Written by Staff
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Monday, 24 October 2005 |
When you’re ten years old, living in New York, and in
love for the first time, the signs of your beloved seem like they’re
everywhere. You think you see her face in every store window,
billboard, and movie-house marquee you pass. At least, that’s the
experience of Gabe, the principal character in 20th Century Fox and New
Regency Pictures’ romantic comedy, LITTLE MANHATTAN, Starring Josh
Hutcherson as Gabe, and featuring Charlie Ray, Cynthia Nixon, and
Bradley Whitford, the film opened in New York in September, with wider
distribution later in 2005.
Josh Hutcherson (r) as Gabe in LITTLE MANHATTAN
The task of creating Gabe’s experience fell in part to editor Alan
Edward Bell, who also handled the majority of visual effects on the
film. One tool he came back to again and again was GenArts’ Sapphire
Plug-ins -- both during the editing stage to create effects within
Final Cut Pro, and during the finishing stage to finalize the effects
at film resolution within Autodesk combustion.
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Articles
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Written by Larry Jordan
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Wednesday, 19 October 2005 |
Not to mention my book or anything, but while doing
research on HDV, I started to compile a list of what makes HDV
different from DV, or other video formats.
And I thought with all the excitement surrounding HDV, this would be a
good time to share some of that information to help you make a more
informed decision on whether HDV is right for you.
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Articles
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Written by Donald Berube, noisybrain. Productions, LLC
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Wednesday, 14 September 2005 |
Note: Updates to this article will appear periodically.
The Canon XL H1 High Definition Camcorder is a professional 1080i HD camera
truly designed for Professional Broadcast, ENG, Documentary or Reality
TV production. For Independent Filmmaking, Canon has included extensive
Cine controls and the ability to capture at 24 Frame shooting mode.
The XL H1 is very rugged and solidly constructed with a
professional black color theme. The camera features a flexible "open
architecture" design, allowing for a variety of custom camera
configurations and various applications for those working with High
Definition video - Broadcast and Film . Its' Top 5 features are:
1. PROFESSIONAL HD-SDI:
Uncompressed 1080/60i 4:2:2 HD-SDI output at 1.485 Gbps.
That's right. 1.485 Gbps. This will allow for multi-format external HD
recording to HDCAM, DVCPRO HD, and non-linear systems like a Final Cut
Studio suite outfitted with an Aja Kona 2 card, for example.
2. NEWLY DEVELOPED High Definition Lens:
20x HD L/SR OIS lens (5.4mm-108mm, f/1.6-f/3.5, 72mm filter size)
with Super Range Optical Image Stabilization. This is not the same lens
as on the XL2, it is a newly-designed HD lens for the XL H1, and in
working with it, it is simply beautiful.
3. THREE 1.67megapixel 16:9 Native CCDs
1440 x 1080 effective, selectable capture of 24 Frame or 30 Frame
(24F, 30F or 60i) The XL H1 is a genuine 1080i HD camera offering three
1/3” interlaced 1.67megapixel 16:9 native CCD’s that capture images at
the industry standard 1080i resolution. The actual CCD capture is
1440x1080 effective capture (same effective capture as HDCam) as opposed to
only 960x1080 effective capture found on some competing HDV camcorders.
Independent filmmakers take note: The XL H1 does indeed do 24fps in
what Canon calls 24 Frame as it is 1080i. The actual CCD capture is
selectable at either 24 or 30 frames per second for three selectable
frame rate choices: 24 Frame, 30 Frame or 60i. (25 fps in Europe).
4. NEWLY DEVELOPED DIGIC DV II Image Processor
The XL H1 also sports the newest version of Canon’s proprietary
Digic processor – DIGIC DVII. This is a Canon exclusive technology
which is available in every shooting mode. Designed by Canon engineers
from the ground up for photography, this is the same CPU technology
which empowers Canon's digital still cameras - now available in the XL
H1.
5. PROFESSIONAL JACK PACK:
Gen-Lock (input), TimeCode (input /output), HD-SDI BNC (Component,
S-Video and Composite also included). Think low-cost High Definition
multi-cam production in tandem with Final Cut Studio.
Let's take a closer look at this professional 1080i HD camera.
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Articles
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Written by Graeme Nattress
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Saturday, 10 September 2005 |
In this article I hope to be able to show if there
are any picture quality benefits to bringing in DV (I'll refer to
miniDV, DVCAM and DVCPro as DV as they all share the same codec) to
Apple's Final Cut Pro over uncompressed SDI compared to the "normal"
route of transfer over Firewire and using the Apple DV codec. I will
also investigate new algorithms for dealing with DV chroma sampling
issues. Many thanks to Peter McAuley of AXYZ Edit in Toronto who made
this article possible and AOL Canada for permission to use the footage
of the boy in the red shirt. Over the course of writing this article,
there was a bit of "scope creep" as more ideas to analyse the video
were thought of, and we decided to throw analogue BetacamSP into the
mix for consideration. Near the end of writing the article I came
across a controversy over whether Digital Betacam is an 8bit format or
a 10bit format, so that too was included into the scope of the
investigations.
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Copyright c 2001-2010 Boston Final Cut Pro User Group, a division of noisybrain. Productions, LLC. All Rights Reserved.
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