We have to admit that this post has very little to do with Final Cut Pro. However, this Vimeo video has had us chuckling in the office this morning so we thought we would share.
Here's a good one for all you camera assistants out there trying to force your way in the business. The top ten things every camera assistant should know about the RED Camera. Find out what they are after the break.
We all love free tutorials and new producer We Make Movies has wasted no time after the 10.0.6 update in publishing these eight. Get yourself a large coffee and enjoy some free training!
UK broadcaster Channel Five conduct a video challenge on The Gadgest Show between a Canon 60D and the RED camera. It might turn some people's stomachs but we loved the dirty fingernail shot in the second short!
This is an interesting Final Cut Pro X user story from a number of perspectives. A passion for drifting led Aaron Losey to make a five and a half hour documentary of his event filled pilgrimage to the Ebisu Circuit in Japan.
This is all made for fun, but has some serious undertones about the deskilling of film & TV. More Red DOP fun over on the very funny Facebook Page
The latest 10.0.6 update to FCPX brought sophisticated support for media shot on the RED cameras. This new white paper details different workflows with FCPX and also suggests one very handy tip for changing the resolution of your projects once editing has been finished.
We are normally quite good at picking up articles from Apple as they are released, but we missed this one. Many thanks to the eagle eyed Marcin Zwolski for spotting this latest documentation and sending us the link.
Well we are a little blown away this morning and the Apple event hasn't even started. Color Grading Central has just released LUT Utility. All FCPX editors must watch the video!
Graeme Nattress is a legend in the editing world, you've probably come across his excellent film look plugins. Today he's launched Chromagic, a colour correction plugin for Final Cut Pro that you can control with an iPad.
A range of clever hardware devices from Sonnett Technologies Inc. From the large 'XServed' Mac Mini to the ExpressCard reader, these boxes expand your Mac using Thunderbolt.
The catchy Reggaeton pop song ‘Despacito’ by Puerto Rican singer Luis Fonsi and rapper Daddy Yankee was the inescapable Summer Hit of 2017. Just 6 months after it was released it became the most streamed song in history, with 4.6 billion plays across all streaming services. It reached No. 1 on Billboard’s Top 100 and stayed at that place for 16 weeks. The song topped the charts of 47 countries and reached the top 10 of ten others.
**The Silent Child wins the live action short Oscar**
When British actress Rachel Shenton started writing "The Silent Child" in May 2016, she could not even remotely imagine that the short movie based on her screenplay would have such a huge impact on people all over the world.
Ming Lai's story about the post production of his latest feature documentary 'Visions of Warriors' is one that we are sure we will hear again a lot more in the future. Quite simply, how Final Cut Pro X made it easy for the director to finish a film without the need of an editor or expensive equipment. All in 4K as well.
FCPX shines in handling 62TB of RED Epic Dragon 4K RAW footage, 10TB of BMCC ProRes footage, 1,2TB of external audio clips and over 34.000 exported files for a groundbreaking 3D augmented reality project. Ronny Courtens looks at The Forever Project, which ended up being post produced on Final Cut Pro X.
When Stephen Gray got in contact with us saying he had edited a short test film in RED 4K on Final Cut Pro X 10.1 and uploaded it to YouTube in 4K, we were impressed. FCP 10.1 was less than 24 hours old!
MacBook Pro, Final Cut Pro X and the LA Film Community Boost Local Productions. A great FCPX user story that shows there really is no barrier to shooting and editing your own high quality film.
Robin Moran publishes his last part in a series of three articles on how to handle large sized camera media in Final Cut Pro X. This time he's describes what's changed in FCPX 10.3, what has been fixed and also supplies a very handy resolution cheat sheet.
Robin Moran's article about how to shoot on large format media such as 6K and then edit in Final Cut Pro X proved to be very popular. In part two, he looks at taking the media into Resolve and Pro Tools, with a few VFX back in FCPX.
Working out how to edit large camera media such as 6K in the correct resolution and aspect ratio for delivery can be a nightmare. Robin Moran has done the maths and has figured out how to keep the quality and flexibility up in FCPX whenshooting overscan and cropping a centre extraction.
Tonaci Tran certainly moves and shakes with those RED people. He went to RED Studios to work on the Santa Fe 3D Workshop and got to handle the Red Scarlet Fixed Lens camera.
A wonderful short film from Chris Mckechnie about a boy wanting to become a park ranger for a day at Yosemite. Shot on 2 RED Epics (one of them mounted on a Movi) and all edited in Final Cut Pro X.
Nobody is really surprised anymore to hear that yet another feature film has been edited on Final Cut Pro 10. But when Lance Bachelder posted a message saying he had used Final Cut on his latest production, he got my attention. Why? Because I knew that, although Lance has always had an open mind towards the new Final Cut Pro, he did not want to use it for his professional work. Until now...
The community behind FCPX is like no other NLE. An example of this is the help filmmaker Emmanuel Tenenbaum received when editing his short film 'Sans Plomb.' The film has just been awarded a Staff Pick on Vimeo to go along with its many film festival showings.
Ted from RED updates us on all things EPIC.
How huge? When Thunderbolt was released we had a chat with HD Warrior, the website that we read for breaking news on cameras. We said it was only a matter of time before camera companies jumped on this new technology. Find out what our chat predicted after the break as this little connector will change the industry again.
AC/DC, Coldplay, The Rolling Stones, Robbie Williams, Metallica, David Gilmour, Duran Duran, Placebo, Dixie Chicks, Zipperface, Beyoncé, Björk… You name them, James Tonkin has worked with them. In this extensive interview, he talks about the gear he takes on the road to shoot and edit concerts of the world’s greatest bands, and about his new high-end post house in London. A good read for anyone who is interested in camera gear and post production technology.
This just popped up over the weekend. A pretty cool promo for Law & Order shot on two Red Epics. We do love DSLRs here, but we have to admit that this promo shot at 120 FPS looks stunning.
***Updated with machine stats***
As FCPX matures, we are seeing more and more features being cut on the software. The Precipice is a low budget Australian indie that chose to post on FCPX for flexibility and speed.
Not only does Rick Young take a good look at the camera, he also hits Red's Ted Schilowitz with a few questions that we all have about Scarlet. We are going to have to hide our credit cards in a few months!
Edit a feature film in 8K on Final Cut Pro X? Who would attempt such a thing? Patrick Southern for one and he has kindly documented his ingest, dailies and proxy making workflow.
Things are happening in the outside world, outside of the halls here at IBC in Amsterdam. A lot of messages from people about this latest video from Michael Cioni. FCPX comes out as a star.
10 part French TV series Lazy Company had a split life in post production. Seven episodes were cut on Final Cut Pro 7 and three were cut on Final Cut Pro X. We speak to editor Olivier Galliano who gladly took on the challenge of using FCPX.
8K60p REDRAW, a Mac Pro, a Pro Display XDR, Final Cut Pro and the legendary Nile Rogers. Another superb FCP user story from Ronny Courtens.
***Updated with link to Canon & Red liveblogs***
What a news day today is going to be! Three huge announcements from three large companies, Canon, Red and Avid all have special events planned.
Patrick Southern and Sam Mestman take us on a detailed walk-through of the workflow involved in the post production of a feature. We start with part one, on set where the capture of logging information is essential to cut time and costs in post production. With the first part containing over 4000 words of wisdom, this series will be the 'go to' post production reference for future filmmakers.
We publish part two of Sam Mestman & Patrick Southern's popular workflow series. This time they look at setting up Final Cut Pro X ready for editing and using tools to organise footage within Libraries. As always, lots of very detailed & valuable battle tested information for film makers.
Time for part three of Sam Mestman and Patrick Southern's very popular series on the workflow, techniques and tips needed in getting a 5K feature made, from shooting, right through to distribution. This time it is all about editing in FCPX and they also include a rundown of essential third-party tools.
On to part four of this masterclass in filmmaking and it's a bumper issue! Sam Mestman and Patrick Southern this time talk about group workflows and finishing. As always, lots of info and great tips. Possibly a two cups of coffee article.
Following up on his article last week, Adam Schoales now posts about his latest project. This time it's a special cinema spot shot at 6K on a RED Helium and cut on Final Cut Pro X of course!
Phone Home from The Brothers McLeod on Vimeo.
This is production footage Tom Lowe shot over the summer for his debut film, "TimeScapes," a modern portrait of the American Southwest, using Canon and Red MX cameras. Follow the film's production here.
You have to admire that Tonaci Tran, he gets to see the right people at the right time with the right kit. On a recent visit to Red Studios, he managed to doorstep Ted Schilowitz on the way to CES with a Scarlet in his hand. Makes me smile that the video was hot on an iPhone though. Ironic?
UPDATED 8th Jan Ted & Scarlet camera get featured on Guardian TV after the break.
This 17 minute chat from MacVideo with Rodney Charters proved to be some thoughtful viewing over our morning tea. Lessons to be learnt for shooters and editors.
It's been a while since we featured a presentation from the LACPUG here on FCP.co. This is a good one, Sam Mestman from Lumaforge takes the audience through a 4K RED workflow on Final Cut Pro X.
Chris McKechnie dropped us a line with the details of how he made a corporate video for Peragon. Shot on a Red Epic and post produced in Final Cut Pro X and REDCINE-X, we knew it was going to be a good read.
Need a reason to watch the Oscars on February 26th 2017? The Spanish film Timecode directed by Juanjo Gimenez and edited on FCPX by Silvia Cervantes has a good chance to win out of the five entries on the Live Action Short shortlist.
Visual Effects innovator The Foundry have developed STORM which assists RED Digital Camera workflows. There's a Public Beta available for download until 1 March 2011. Take a look here.
In the past it's always been a bit of a problem getting a monitoring signal out of a DSLR so other people can watch. Indiespot.tv caught up with Teradek's Rod Clark at the DV Expo.
Peter Jackson enjoying his new ''Hobbit''. The man behind the Lord Of The Rings trilogy announces he will use RED EPIC for his two-part 3D adaptation of The Hobbit.
Amazing to think back that the first prototype RED One was made in a wooden box with a Sigma lens attached.
A treat this morning. No new products, no plugins, not even a new lens flare pack, just some great examples of 4K RED work that has been post produced in FCPX. Grab a coffee (you will get thirsty) and enjoy!
A series of videos from Ketch Rossi and Steve Gibby following their 'Epic' adventure from the DHL man arriving to on location shooting with their Red Epic-M. Let's say that not only were these guys seriously excited, but also they were pretty impressed by camera number 00008.
Tight turnarounds are not new in television, but in feature film production, being able to see a first cut within hours of the end of shooting is nothing but remarkable. Robin Moran explains how Final Cut Pro X gave filmmaker Ismail Basbeth and his team the speed and thus the 'creative room' to perfect his production.
Well it is not a completely idiotic thought. If you can remember back to editing in the early nineties, there were only two NLEs on the block, Lightworks and Avid. Everybody knows the Avid story, but could Lightworks be coming back to change the market again? Links, opinion and a video tour of the GUI after the break.
As much as we love our Canon 5D, you would not want to shoot a documentary on the history of lace with it. Why? The dreaded moiré striping effects you can see above on the left hand side example. However you might have a couple of plugins installed already that will fix the problem.