Final Cut Pro – Discover the Final Cut Pro Audio Mixer

TIp Jar

Final Cut Pro has an audio mixer hidden in it that can greatly simplify mixing your projects.

The only problem is that it is hidden.

To find it, go to Window > Arrange > Audio Mixing.

Final Cut Pro – A Secret Way to Change the Speed of a Clip

Christine Steele showed me this trick.

The problem with doing a constant-speed change to a clip is that it always changes the length of a clip; which messes up all the edits you’ve done in the Timeline.

That is, unless you know this secret technique:
Put your playhead in the clips who’s speed you want to change.
Press Option+Command+F. This loads the clip in the Viewer, matching the position of the playhead, without setting any Ins or Outs.
Note: DON’T move the playhead at this point.

With the Viewer selected, use Modify > Speed to change the speed of the clip.
Drag the clip from the Viewer to the Canvas and drop it on top of the blue Replace Edit overlay menu.
The original speed clip in the Timeline is replaced with the changed-speed clip in the Viewer.

Note: Because the clip is now running at a different speed, you will see either more, or fewer, frames that the original clip. Where you first put your playhead in the Timeline determines what portion of the clip you’ll see.

RESOLUTION.

RED 4K-RAW cameras have 4096 horizontal pixels. Since RAW is a Bayer pattern, the actual measured resolution is less. You can use 80% to figure out exactly what the final measured resolution will be. For example, 4K-RAW will end up as roughly 3.2K (4096 x 80% = 3276) measured resolution. 5K RAW (EPIC) will actually measure 4K (5120 x 80% = 4096).

4K delivery

We believe that 4K delivery (4096 x 2160) is the future of cinema, both in theaters and in the home. 4K is roughly 430% more resolution than 1080P. We also believe that it is not a good idea to acquire in 1080P or 2K for a 4K delivery.

A 4K film scan has measured resolution of about 2.8K for fast film (ISO 500) and about 3.2K for slow film (ISO 100). We do believe that 3K of measured resolution will scale to a 4K delivery with no problems. 3K of measured resolution is 256% greater than 1080P (3072 x 1728 = 5308416 vs. 1920 x 1080 = 2073600)

We don’t believe that we are alone in this thinking. Sony, Christie, Barco, Meridian, JVC and Epson have 4K projectors (the newest Sony T Model is incredible). Panasonic has just introduced their 152″ 4K plasma. Samsung, Sony and Sharp have all shown 4K displays. Now all they need is RED 4K (RED Ray) to deliver the content.

Here is the display mentioned in the RED 4K – The Future of Cinema is 4K post.

152-inch 4K x 2K definition Full HD 3D plasma display

For more information on Panasonic’s Full HD 3D Technology, visit www.panasonic.com/3D.

Final Cut Pro – What IS This Color Thingy?

Find in Sequence

Ever wonder what this button does?

It shows up whenever you have the ability to change the color of something.

However, when you click it, the only thing that happens is that the arrow changes direction. What the heck is it?

I call it the “color thingy.”

It only works when you set keyframes to change the color of an object during the course of playback.

Changing colors in video is done by moving around a circle. This button determines whether you are moving clockwise — from red to blue to green — or counterclockwise — from red to green to blue — during your move.

Now you know.

RED spinning Drives are a “no go” at concerts and on helicopters. The sound levels and/or vibration will cause dropped frames. For long takes use RED Ram or 16GB-64GB CF cards only.

More information can be found here!

A new colleague I met in San Francisco (Kevan, who just happens to be a two time Oscar winner) is working on this amazing new capability between NVIDIA and Adobe. Keep your eye on this one, it seems to be foretelling where the next leap in editing is heading.

GET READY FOR WHAT’S COMING! <--Click to see the video demos!
What are you waiting for? Ensure your system is ready for the Adobe® Mercury Playback Engine and the highly anticipated future release of Adobe® Premiere® Pro. With this breakthrough CUDA™-based technology, get an amazingly fluid, real-time video editing experience. Upgrade today to a required NVIDIA® Quadro® solution to get an immediate boost in performance with your Adobe® Creative Suite® 4 and be ready for what’s coming next.

• Experience real-time results when applying multiple color corrections and effects across more than three video layers – but only if the system has Quadro
• Enjoy smooth scrubbing and playback of complex projects with real-time effects
• Refine effects-rich HD and higher-resolution sequences in real-time
• Work in real-time on complex timelines and large projects with thousands of clips – whether your source is SD, HD, 2K, 4K or beyond

Enjoy being one of the first to hear about it here at DCFCPUG!

Final Cut Pro – Four Differences in Changing the Speed of a Clip

TIp Jar

There are two ways to change the speed of a clip in Final Cut Pro: constant speed or variable speed .

A constant speed change:

• Always changes the duration of the clip
• Always changes the duration of the timeline
• Changes both the audio and video
• Always plays every frame from the In to the Out

A variable speed change:

• Never changes the duration of the clip
• Never changes the duration of the timeline
• Changes only the video
• Plays the In, after that, all bets are off

Constant speed changes are done from the Modify menu, while variable speed changes can be done in either the Motion tab or Timeline.

The new Mysterium-X sensor.

This showcases just how good the new sensor is “shooting the hard stuff”. Thanks to Michael Cioni of LightIRON for the grading and posting.

The detail is simply amazing… Download the 4K TIFF and see for yourself!

LightIRON