Aliases, symbolic links, and hard links are often confusing terms for representing data on hard drives. Managing FCPX hard links can go a long way toward helping your workflow and maximizing your storage space. For the purposes of this article, let’s get some definitions out of the way (thanks to About.com for the details here):
Different File Pointer Types in OSX
Alias When you create an alias for a file, the system creates a small data file that includes the current path to the file. Once you create an alias file, you can move it to any location in your Mac’s file system, and it will still point back to the original.In addition to the moving the alias, you can also move the original item anywhere in your Mac’s file system; the alias will still be able to find the file.
Symbolic links Symbolic links are similar to aliases in that they are small files that contain the pathname to the original object. But if you move the object to a different location, the symbolic link will be broken, and the system won’t be able to find the object.That may seem like a weakness, but it’s also a strength. Since symbolic links find an object by its pathname, if you replace an object with another object that bears the same name and is in the same location, the symbolic link will continue to work. This makes symbolic links a natural for version control.
Hard link Hard links don’t contain the pathname to the original object. You would typically use a hard link when you want a single file to appear in multiple places. Unlike with aliases and symbolic links, you can’t delete the original hard-linked object from the file system without first removing all hard links to it.
Now that we’ve gotten that out of the way, let’s take a closer look at how FCPX hard links can enhance your workflow. This episode of MacBreak Studio features FCPWORKS’ Sam Mestman discussing this subject with Steve Martin:
We hope that clears things up a bit on how FCPX hard links work compared to original media, aliases and symbolic links. Knowing this stuff under the hood is key to mastering your workflow and managing storage space.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
As some of you might know, our typical FCPWORKS workflow services involve building FCPX editorial solutions around high-end 4K acquisition gear from RED, AJA, Blackmagic, ARRI, etc. That being said, we’re also firm believers in the philosophy of Chase Jarvis, “The Best Camera Is The One That’s With You.”
Some of the FCPWORKS team put this philosophy into action during a recent trip to Tokyo to attend the InterBEE trade show (where we learned all about the coming 8K future, more on that in a later post). On more than one occasion, we went to a great bargain sushi place near our hotel called Sushi Zanmai.
We decided to commemorate the place by shooting an impromptu episode of fellow FCPX consultant and trainer Chris Phrommayon’s YouTube restaurant review show, “You Try Now.” The challenge: we only carried an iPhone 6 and 6 Plus for cameras. To our eyes, this all turned out pretty well, but decide for yourself with the embed below and then read more all about our observations. Be sure to click on the gear on this clip and change the playback resolution to 1080p for the best quality:
This experience gave us lots of insight into ways that Final Cut Pro X editors can optimize their workflow with iOS footage. The camera on the iPhone 6 isn’t going to replace the 4K gear above, but it’s actually quite good and compares very favorably with other purpose-built 1080 HD camcorders.
The following suggestions can make the most of the camera’s capabilities so that when you get into editing with Final Cut Pro X you can achieve the best possible results.
10 Must Have iPhone Tips for FCPX Editors
Use Focus/Exposure Lock. The iPhone has a great automatic focus/exposure meter but if you leave it on automatic you may find it riding the exposure and focus up and down within a shot. This could ruin a take if it happens during a key moment. So, watch the shot as you capture and if you notice this happening simply tap and hold on the screen on the subject you want to be exposed and focused on and the exposure/focus will lock for the next shot.
Shoot Steady. Nothing screams amateur like shaky, handheld footage. Shoot with a an iPhone tripod if you have one, or brace the phone against a table, chair, or doorway. You can also hold the phone closer to your body and take shorter steps to maximize steadiness. The iPhone 6 Plus has built-in optical image stabilization that is quite good. Combine this with some judicious application of stabilization in FCPX and you can achieve nice, smooth camera moves that may fool some eyes into believing it’s a dolly or jib shot.
Shoot Long Takes. A common camera phone habit is to start action at the moment you begin recording and cut right as you stop recording. But this can really limit your editing choices in post-production. Instead, start rolling, then count off a few seconds to yourself and then start the action. When the action has completed, count off a few more seconds and then stop the recording. You’ll be very happy to have those extra handles of useful footage, especially when you’re trying to fit a long voiceover onto a montage of shots in FCPX.
Get the 128 GB model. The iPhone 6 shoots 1080/30p H.264 at approximately 18Mbps. This results in file sizes of around 135 MB per minute or about 8 GB per hour. Considering you’ll likely want to carry your own music, movies and lots of other apps on the same iPhone, leaving plenty of extra storage space for video is a great idea. Get the 128GB model. (It has a better resale value too.)
Do Slow-Mo in Post. The iPhone 6 offers slow-motion modes of up to 240 frames per second. Unfortunately, in order to achieve these higher frame rates, the camera samples less of the sensor area (this is common on high speed cameras). The result is lower resolution in slow motion shots. You won’t notice this as much on the relatively small screen of the phone itself but it’s painfully clear when you look at the footage on an HD monitor back in FCPX. The built-in optical flow based slow motion in FCPX is a very good alternative. So, shoot full 1080p 30 (or switch to 60p if you are certain the shot will be slowed down).
Watch the Color Temperature We found that the iPhone shoots a bit cool in terms of color temperature and responds well to a bit of judicious Color Board application in Final Cut Pro X.
Be mindful of mixed lighting sources as you shoot. And don’t use the onboard light unless you are literally in pitch blackness without it, as it produces a flat/deer-in-the-headlights look.
Add Voice Notes While Shooting We were shooting a lot of b-roll/montage footage where we knew we wouldn’t use the audio being recorded with the video. So, we’d just annotate the video vocally as we shot. For “You Try Now“, it was “this is the dish we’re about to eat, this is how it’s made, etc.” This was much faster and simpler than stopping recording to jot down written notes. And when you edit in FCPX you can replace that temp audio with cleanly recorded voice over.
Record Secondary Audio with Voice Memos We’re assuming only stock iPhone applications for this article, so this one is a freebie. Later in this article we’ll discuss additional apps but the Voice Memo app is a nice way to get audio-only clips. If you want to get the background ambience of a particular location to later lay over an entire montage, grab a quick minute or two of clean audio with the Voice Memos app and you’ll be all set when you get to the edit in X.
Transfer Everything At Once The iPhone 6 Lightning connection is unfortunately limited to USB2. Even though the H.264 clips of the phone are smallish, they still take a long while to transfer into FCPX. Set aside enough time to transfer everything you shot for a particular project in one go- ideally during a long break or even overnight. You can always delete unused shots later but it’s better to get everything transferred first and then move onto the edit.
Optimize on Ingest Do this for for better editing performance and quality. The H.264 long-GOP clips created by the iPhone can be played natively in FCPX but you’ll find performance suffers a lot as soon as you add filters/transitions/color grading due to the increased processing/encoding required. If you optimize to ProRes on ingest, this only has to be done once per clip and from then on the editorial performance will be much better. The lower spec’ed machines like Mac Minis and MacBooks will benefit from this the most. Make sure that the Create optimized media option is checked on import.
Other Apps
We said earlier we’d assume a ‘stock’ iPhone but maybe you want to extend your toolkit a bit. Here are some other useful iPhone applications for video production:
MoviePro Recorder Enables 2K resolution and higher bitrates along with a host of manual controls and uncompressed audio. Filmic Pro also deserves a mention. You should test these apps carefully before committing to a workflow with one. The clips use up more space and might cause compatibility issues depending on the frame rates and resolutions you select.
Hyperlapse from Instagram Admittedly these clips are already getting a little cliche/gimmicky but they can make a great intro/outro to a location and the built-in real time image stablization is quite impressive.
Sun Seeker Technically this is a not a video/audio app per se but if you’re working on location stripped down with minimal gear, knowing the precise location of the sun throughout the day can be incredibly useful for planning out a shoot.
Hardware
One key benefit of shooting video with an iPhone is staying lightweight and agile, but here are a couple of optional pieces of hardware that will add production value without too much extra weight.
Olloclip is a relatively lightweight lens adapter that gives you fisheye, wide angle, and macro options with great build quality. The current model is one-size fits all for both iPhone 6 and 6 Plus. So you can share one between two cameras if needed. Adds immensely to the optical variety of shots you can achieve with the iPhone.
Mikey Digital Let’s face it, the onboard mic on the iPhone is decent but like any onboard camcorder microphone it will never take the place of actual professional microphones for post-production usable sound. The Mikey will get you one step closer to that ideal while keeping your kit bag relatively light.
Fly X3 Gimbal Gyro-stabilized gimbals are all the rage now both with drones and handheld units costing into the thousands of dollars. The X3 is a very compact and relatively inexpensive ($330) unit for the iPhone 6 (but not the 6 Plus unfortunately). Looks very promising if you’re doing a lot of high motion/active sports work.
Conclusion
When the first iPhone came out in 2007, it didn’t even have the ability to shoot video clips. I’d have been hard to convince back then it would ever replace even the most modest consumer camcorder of the time. With the latest iPhone 6 and 6 Plus however, the game has changed. The video quality possible with the onboard sensor and in the case of the Plus, optical image stabilization is quite impressive.
The iPhone 6 tips we’ve shared in this article can help optimize this quality and prep for Final Cut Pro X. We’re not quite ready to stop shooting 4K with awesome lenses for good but when the image need not be of pristine quality and/or you want to travel light, this is a great option. And for easy b-roll for projects, the iPhone 6 is also a no-brainer. Please share additional tips you’ve found and productions you’ve made with your iPhone in the comments.
ABOUT THE AUTHOR
FCPWORKS Noah Kadner
This blog post contains the personal musings of FCPWORKS’ Marketing Director, Noah Kadner. Prior to joining the company, Noah spent several years at Apple where he worked with internal Workflow and Editorial teams in support of Final Cut Pro X customers. Noah also directed a feature film available on iTunes called Social Guidance and wrote “RED: The Ultimate Guide to the Revolutionary Camera.” Noah’s ongoing career goal is communicating digital post-production workflows to experts and enthusiasts alike.You can follow him on Facebook or Twitter at @FCPWORKS.
So… as the neverending plugin machine continues to churn for FCPX… fewer and fewer of these plugin sets have a specific use case, I’m finding. I really wish more of them did.
However, if you’re an editor that needs a quick, professional looking, highly customizable template for a corporate video/podcast intro/interstitial, especially if it’s tech/science based, GraphiText is probably the one you should check out first. Have a peek at this preview and you’ll see what I mean:
Bottom line is that these are designed to be for transition graphics… and if any of the 7 templates have the right feel for what you want, you buy the plugin package and have a reusable, high end graphic that you can customize around your own branding (it has dropzones and highly customizable text). If you’re a one man band, plugins like these make you look good to clients.
In general, I think this kind of plugin package is a great example of what Motion should be used for… and what more plugin developers should be building for editors – which is highly customizable effects/templates/transitions/titles that would be nearly impossible (or not worth the time spent) for the average person to learn how to make… and are extremely easy to integrate with the average edit.
I’m happy to spend a small amount of money on a plugin package I know I’m going to reuse constantly… and while I’m good with Motion… probably a solid B… I’m certainly couldn’t make the kind of stuff Luca does.
GraphiText is available from FxFactory (In my opinion, easily the best way to buy and manage plugins for FCPX) or from the Luca Visual FX site here.
Lastly, in case anyone was wondering… I did receive a review copy for the plugins… but I also only review the ones I like. I like these… as I do most of Luca’s other stuff, which you can find here or on FxFactory. If you want to know my favorites from his other bundles… the Lo-fi look, Film Leaders, Sprocket Slip, and Grunge Effects, are some of my consistent go-to’s.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
Hey folks… just a heads up for those of you in Los Angeles, I’ll be at the Aerial Cinematography event showing off FCPX 4K workflow with the DJI Inspire (amongst other things) this Saturday over at Abel Cine in Burbank.
There’s some other really cool stuff going on as well… and if you have any interest in drones/aerial cinematography, this is pretty much the event to go to
If you want to come out and you need more info, here’s the link:
If you use the promo code ABELCINE25, tickets are only $10.
Hope to see some of you there… and if you do make it out, please don’t hesitate to say hi.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
Sam here…. It’s starting to dawn on me what professional subconsciously means to a lot of people in the post-production world.
It means, “overly-complicated thing that is so confusing that the average person can’t use it. And the people who do know how to use it never need to explain why things with the particular product don’t work the way they should.”
When I look at at some of the software out there that’s considered highly professional I notice some common themes. User documentation tends to be inaccurate, not covered, or completely wrong… and yet the veteran users often say how much better it’s gotten.
Getting up and running with many of these products is often extremely difficult… almost like it was designed to keep people away from the interface and features. Basic functionality that you would expect from any piece of free consumer software can be touted as a “new innovation” that still often doesn’t work as expected (or without knowing which submenu or preference you need to have memorized).
The bottom line is that because many of these applications are so specialized and expensive, it becomes an excuse to explain away the entire product’s MASSIVE design and implementation flaws. Essentially, the attitude becomes “well, this is the most professional and expensive thing there is… if you don’t get it, you probably shouldn’t be doing this sort of work.”
My own recent experiences with some of these tools made me think a lot about whether the fact that I tend to use a lot of Apple products in my day to day has made me less capable, or whether Apple’s simplistic design has simply made my threshold for unnecessary complexity far lower than it used to be.
At the end of the day, my definition of professional is finding the most efficient, practical way to get from point A to B without having to sacrifice quality.
What I’m finding more and more in the post production world, though, is that a lot of professionals hide behind their apps’ complexity as a way of keeping their lack of actual working knowledge hidden and preserving their rates.
For most people, all professional really means is “have you created a system that the average person can’t use so that you can charge more money for this complicated, specialized product?”
I’m pretty sure the average colorist getting $650 an hour is not happy about Resolve Lite going free. Especially when the same exact application used to be much harder to use and part of a million dollar hardware package. And that was just a handful of years ago.
A real professional should be looking at the traditional production pyramid of cheap, fast, good (pick two) and doing their best to find ways to deliver all three in as painless a way as possible to their clients. That’s real value, and real professionals know that the faster you can do the same job (at an equal quality) as someone else, the more money you can make from that job.
Delivering at that level of cheap, fast, and good would mean that you would want your tools to be as simple and easy as possible so that you can get done what you need to get done without the tools getting in the way… and so you don’t need to constantly apologize for poorly executed design choices while you work.
The general idea is that developers should design for simplicity and ease of use and with the end user in mind… very few people besides Apple do that. Give a 4 year old a Blackberry instead of an iPad and you’ll see exactly what I mean. And yet somehow they get slammed for applying that philosophy across the board to their professional applications.
At the end of the day, I’m just a little surprised that in order to be considered professional you have to have something that only a subset of people can figure out… when the truth is that the only thing that matters when it comes to being professional is the end product.
I wish more professional products followed that philosophy. We’d all be able to get more work done.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
Noah here. As some of you might know, before coming over to FCPWORKS I worked for Apple on the Final Cut Pro X team. What was that like? Well, unfortunately most of what it was like (other than awesome) I can’t reveal due to a non-disclosure agreement I signed and also my own wish for Apple’s surprises to stay secret. But I’ve spoken openly about one of my areas of responsibility during my time at Apple: reading incoming user feedback about Final Cut Pro X.
That’s right, when you “Provide Final Cut Pro Feedback” within FCPX itself or via this feedback form, actual human beings on the other end read it. For a while, I was one of those humans on the other end. So I thought you might like to know how you can tailor your own feedback to be as effective as possible. I found FCPX feedback generally fell into 3 main categories: Bug Reports, Frequently Asked Questions (FAQs) about using the application, and Enhancement Requests (ERs) asking for a new feature.
Let’s break down each of these types of submissions:
Bugs
No application is perfect and FCPX is no different. It’s a deeply complex application tuned for very high performance. And let’s face it, pushing multiple streams of 4K+ video along is a herculean task that drives Apple to the limits of hardware development. We probably wouldn’t have a new Mac Pro if FCPX were not around to make use of it. That being said, bugs do happen and feedback is an excellent way to communicate them to Apple and make sure they know about them.
Now here’s the real trick: in order for a bug to be potentially fixed it first has to be reproduced. In other words, a bug you’re reporting should be repeatedly reproducible. If it can’t be reproduced outside of your own system then it can’t be analyzed. And if it can’t be analyzed, it can’t be fixed. Here are some tips for reporting bugs in the most effective way possible:
Observe the bug. What exactly happened? Did FCPX crash? Did you lose some data? Did your computer freeze? Did you see a graphical glitch of some sort? What did you expect to happen vs. what did happen? Make some notes; the more details the better. You never know where the key to understanding the problem may lie.
Are you alone? Check the discussion forums that I mention a little later in this article and look for others having similar issues with FCPX. If you can’t find anyone else discussing anything even remotely similar to the problem you’re experiencing, then it’s quite possible it’s unique to your system. Are you up to date on Mac OS and FCPX updates? Are you running any 3rd party virus scanners or firewall software? Are you running any hacks on your system or working with any unusual media formats or codecs? If not and your Mac is still covered under an Applecare warranty, it may be worth bringing your system into an Apple Store and having it looked over for any hardware-specific problems that could be related to the issue.
Can you reproduce the bug? What were you doing in FCPX when the bug occurred? If you try to do the same thing again does the same bug occur every time? Can you distill it down to a specific set of steps that consistently cause the bug? If you can, then you’ve successfully isolated a potential bug. Go to the user feedback form and enter the following information:
A precise description of the bug.
What you expected to happen vs. what actually happened.
Any error messages you received from FCPX or OS X.
Clear, concise steps for reproducing the bug.
Any specific plugins, media types, 3rd party applications you’re running that are above and beyond a ‘stock’ App Store install of FCPX.
Also, please be sure to accurately enter all of the form’s other fields about your hardware specifications and your software/OS versions. You’ll find most of this information via the About this Mac option in the Apple menu. All of this detail will be a major help in making your bug report as informative as possible. And keep it objective. Venting about your frustrations with a bug ultimately doesn’t help it get fixed any faster. And all of this makes the work of those humans at Apple I was talking about earlier a little easier and a little more efficient.
FAQs
For FAQs in general, the FCPX feedback form is actually one of the least efficient methods for getting help because as it states clearly, “we cannot respond to the comments you submit.” On the other hand, Apple as a company has an army of folks at Apple Stores and online via Applecare whose job is precisely to help you. You’ll find a ton of great info right within the app itself via the Help menu. You can also download a detailed user’s manual as a PDF here.
That said, FCPX is a very specialized app used by professionals like you and me and learning is a group effort. So you’ll often get more detailed answers from peers. Some excellent places to ask questions about using Final Cut Pro X are the forums at Apple Support Communities, FCP.CO, Creative Cow, and on the Facebook FCPX Editors Group. You’ll often find that your exact question (or another very close to it) has already been asked and answered by searching for the subject on Google, which indexes everything above (except the Facebook group).
So keep this all in mind with FAQs. If you want help with the application there are plenty of resources out there that can get you an answer very quickly. The feedback form just isn’t really one of them.
ERs
Just about everyone has an opinion about new features they’d love to see in Final Cut Pro X. I send enhancement requests in myself from time to time as I continue to explore new workflows. But before you do send in your ER, I recommend taking a few things into consideration:
Is your dream feature already well-known? I.e. FCP 7-style tracks instead of the magnetic timeline, Motion round-tripping, Batch Exporting and the like. You’re probably not alone in sending in those requests in during the years since FCPX’s launch back in 2011. If your ER falls potentially into this category you should probably add a specific reason why you personally need it instead of you “miss it from FCP 7.”
Does your ER already exist? See the section on FAQs above. If you’re especially new to the application you might find that the feature you’re asking for already exists. Google for it first and/or spend a few moments looking through the manual to confirm it’s not something that’s already in Final Cut Pro X. Perhaps it’s something recently added in a update and you just haven’t discovered it yet.
Or maybe there’s a 3rd party plugin or application that offers the same functionality. Sure, it would be great if you didn’t have to spend extra money for something that you feel should be included directly within the application itself. But if you need something urgently enough for a workflow now, most plugins are a real bargain. Here’s a great resource about many of the available plugins for X.
Does your ER have wide appeal? Think about how many other users might benefit from your desired feature. If your ER is highly specific to your workflow and wouldn’t be of much use to anyone else, the likelihood of it being prioritized for FCPX is low. Think about the 5th wheel on a car. It might look cool but beyond that it’s probably not too likely to happen… On the other hand if it’s a feature that you think might help many other users of FCPX then it’s definitely worth submitting.
Now, if you’ve gotten through these considerations and your ER still fits the bill, you should go ahead and send it in. The more explanation you can provide about your ER and what problem having the feature would solve for you, the better. Provide examples via links if you think they’d help. If an illustration or screencast would help, take the time to make them. You can then include a link to Dropbox, Vimeo, YouTube, etc. Take your time and make your voice count.
Apple Loves Feedback
These are my personal suggestions for submitting better FCPX feedback to Apple. The humans on the other end are really thoughtful people and they truly do want you to be happy with the product. To be honest, these same recommendations also apply to just about any other product Apple makes iMovie, Logic Pro X, OS X etc. (and really same goes for any decent manufacturer).
On the same note, I found another blog post discussing this subject with some great recommendations over at CNET. And here’s a frankly hiliarious look at the life of feedback sent into Apple as a PDF slide deck. (Finally when in doubt on any sort of feedback, you should consult Wheaton’s Law.)
Hope this all helps.
ABOUT THE AUTHOR
FCPWORKS Noah Kadner
This blog post contains the personal musings of FCPWORKS’ Marketing Director, Noah Kadner. Prior to joining the company, Noah spent several years at Apple where he worked with internal Workflow and Editorial teams in support of Final Cut Pro X customers. Noah also directed a feature film available on iTunes called Social Guidance and wrote “RED: The Ultimate Guide to the Revolutionary Camera.” Noah’s ongoing career goal is communicating digital post-production workflows to experts and enthusiasts alike.You can follow him on Facebook or Twitter at @FCPWORKS.
Version 10.1.4 of FCPX hit yesterday… and from what I can tell the general reaction was a mixture of disappointment/sadness/impatience… due to its not having perceptibly new tentpole features (and so close to Christmas too). Except for FCPX users that work in the Broadcast world, who I think all simultaneously pumped their fists. I think it’s a worthwhile maintenance update with the critical addition of native import/playback/export of the MXF format for higher profile clients.
MXF is a file format or container that for a very large segment of broadcasters is critical to workflow. As in, without it being supported directly there’s no uptake of FCPX, period. So even if you’re not using FCPX yourself, its complete inclusion in FCPX is a sure sign that Apple intends this application to be used in professional broadcast environments.
All this MXF goodness is likely a result of acquiring the good folks over at Hamburg Pro Media, which closed up shop mysteriously last summer. This used to be an expensive plugin that barred many broadcasters from getting into FCPX as a platform. Now it’s just a no-brainer and it means if you’re looking at the value proposition of learning FCPX as a platform for getting jobs in the broadcast market, your vista just got a whole lot wider. More on that here and here.
Now if you’re not one of these broadcast clients… guys, seriously, this is not the end of the world and it does not mean Apple has stopped caring about you and is going to stop innovating with this app.
As a person who has been lucky enough to peak behind the curtain and see how the sausage gets made, and has met the people on the FCPX team, and considers a lot of them friends… THOSE GUYS CARE. They are listening to you. They have not abandoned you.
The thing that was most difficult to me when I did my first stint and met the FCPX team for the first time was simply that I didn’t know how software development worked. Just because you want a particular feature doesn’t mean that it’s easy to implement… and just because you want a particular feature that used to be in another application (FCP7), it doesn’t mean that’s the way that feature should implemented moving forward.
The biggest thing I learned from working with those guys is that I didn’t even know what I didn’t know… and that things take time… and that the software was in good hands. The bottom line is this… if there’s something you really want to see implemented in FCPX, use the feedback form in the app and let Apple know. I know for a fact that they read those. If you think yesterday’s release was FCPX in its final form… you’re crazy. We’re going to have a special upcoming insider’s blog on how to give better feedback to Apple soon.
If you want my opinion… I think the FCPX team is just getting started and yesterday’s update was just a few bug fixes and some major fixes they knew they could address and deliver safely to certain customers while they’re busy working on bigger things. These are not educated guesses, these are knowing how the process goes.
So… all I can say to the FCPX users back home who are not happy about the lack of major new features in the latest update – keep calm, keep editing, and use the software in its current implementation… we’ll all be able to look back a few years from now and simply laugh about all the drama this kinda stuff caused.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
We still live in a world where Video I/O boxes are necessary (although… we’ll see how long that is once HDMI 2.0 or the next Displayport rolls out). The bottom line is that if you want to work in 10 bit HDMI or use HD-SDI/quad SDI, there’s no way around working without a video I/O solution right now (the Mac Pro HDMI port is only 8-bit).
Now, while all of these boxes work just fine with FCPX, there’s one small problem. What if you want to watch the signal through your I/O box and have it be completely in sync with desktop viewer?
The short answer is that you can’t really do it currently without a complicated, clunky workaround. No matter what you do, FCPX running through Thunderbolt/Displayport/HDMI is going to be slightly ahead of what you’re seeing through your AJA/Blackmagic Box.
Now, while you can run multiple signals out through these boxes, and have a client monitor/2nd display be in sync out of your I/O box… I mean… wouldn’t it be nice if everything was running at the same speed… especially if you’re running your audio through an interface like the Apogee Quartet as I do most of the time?
Additionally, if you’re running your Mac Pro to a monitor over HDMI through the A/V out setting, you’ll probably end up being a frame off with that display as well, which can drive you a bit crazy until you realize what’s going on.
It’s why I’d love Apple add a frame offset either into FCPX or into the Mac OS X in general. While I’d love to live in a world where the Mac is driving everything, the truth is that we’re just not there yet… I can’t run three displays through the Mac Pro and have them all be completely in sync (or have any of it be 10 bit), and until I can get there, a frame offset is going to be something I want.
To complicate matters further, though, even if you are running your sound out of an I/O box, well, depending on which one you have, you might not be able to do certain things.
FCPX can monitor surround sound. This works great with the Apogee Quartet without an I/O box. If you have something from AJA, you’ll be in good shape too, as it has 6 analog outs that you can monitor from.
The problem you’re going to run into is if you’re a Resolve colorist and you have something like the Ultrastudio 4k, which only has a stereo analog out. Because of this, if you want to work with your BMD box and monitor surround in FCPX… you’re pretty much out of luck if you want things to be in sync.
While the Ultrastudio can feed out a digital audio surround signal through HDMI or HD-SDI, that signal is going to need to be de-embedded somewhere, so keeping that in sync with your 4k display connected directly to the the Ultrastudio becomes EXTREMELY difficult.
So… anyway, if you’re a day to day editor who doesn’t have a degree in physics, and you want to work in 4k in FCPX, monitor in surround sound, and have a color accurate image you can color correct, I recommend you do either of the following:
– Run a dual monitor setup (see my Eizo blog from the other day for some good recommendations on this) with your viewer on a second monitor, monitoring surround sound through the Apogee Quartet, and then running your client monitor through FCPX’s A/V out, and just be okay with being a frame off sync-wise.
Or:
– Run a single monitor setup, buy the AJA IO 4k, running your surround sound through the analog outs, and your video outs powering both your second display and client monitor… and you’ll need to be okay with your desktop being between 1-4 frames out of sync.
Sadly… there is not a good scenario that I can recommend that will run with the BMD Ultrastudio 4k at the moment for playing back 4k and monitoring in surround with FCPX… but you can certainly get away with the AJA scenario if you just need stereo.
And while I’m certainly able to get done what I need to get done with any of the above, none of this would be necessary if I just had a frame offset in FCPX or in Mac OS X.
Not a lot people know about Eizo in the film world, but they’re a really big deal in other image critical industries like medical imaging.
More people in the film world should know about them because they make great displays that are built to last (5 year warranties). Their recent 4K desktop release, the Eizo 3237, solves a major issue that a lot of Mac Pro users have… the fact that there aren’t many good, inexpensive 4K monitoring choices out there.
For instance, I happen to think the Sharp monitor they sell on the Apple store is terrible… and the lack of quality 4K panels is what is really hurting the adoption of 4K, in my opinion.
Stuff just doesn’t look that good on a bad panel, no matter how good the resolution is.
Trust in 4K displays is so bad that quite a few people have told me they’d buy the iMac for $2500 and just use it in Target Display Mode for the Mac Pro (unfortunately, you can’t do this due to limitations in the Thunderbolt spec) because of how nice the display is on it.
The good news is that Eizo makes good stuff, and the recently released EV-3237 monitor is a fantastic, affordable (about $1900) 31” UHD panel that will give you a ton of screen real estate as a primary display for FCPX, Resolve, Motion, or Logic.
In my opinion, if you need a quality UHD Monitor for your Mac Pro, the Eizo 3237 is pretty much the way to go right now.
It’s a 100% SRGB accurate (which is roughly the same color space as REC 709), it accepts Displayport and HDMI, and unlike most of the cheaper 4K panels I’ve seen, it looks awesome with a little tweaking.
And while I wouldn’t recommend it for color critical work like I would the Eizo CG-277 (which I’m a huge fan of but isn’t 4K), if you have a CG-277, you can get the two to match pretty closely, giving you the benefits of 4K display for your primary desktop, and a completely color accurate second monitor that you can safely color correct without a Video I/O box because both montors will plug directly into the mac through HDMI or a Displayport to mini displayport cable (which will plug into a thunderbolt port). In fact, the EV 3237 has nicer blacks at first glance (they reason the CG-277’s are slightly brighter is to insure accuracy across the whole panel… which is why you use it for color correction).
Full disclosure, on the panel I got there were a couple small glitches… I had some weirdness running it on Yosemite initially, and there was an issue with the displayport connection (some weird blurryness on the right hand side of the monitor), but everything ran perfectly once I used the HDMI input running either directly into the Mac Pro or through an HDMI to displayport adaptor.
Also, the EcoView/Brightness settings were an initial cause for confusion (I couldn’t adjust the brightness at first), although once I figured out how it worked, I actually really liked how it was implemented (I feel like this happens to me a lot).
Anyway, FCPWORKS is an Eizo reseller, and if you decide to buy one, we certainly wouldn’t mind if you got it through us. And if you do get one through us, we’re happy to walk you through setup or calibration (for the CG-277) if you run into any issues. At FCPWORKS, we only sell the products we use ourselves… and I’m currently typing this blog from my EV-3237 connected to a Mac Pro with FCPX in the background. It’s the first sub $2,000 4K display I’ve seen that I’ve actually wanted to own.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
Was on a commercial shoot this weekend. The traditional setup people normally use is to have a DIT copy the footage onto a drive and then either have a lab transcode dailies, or just send a drive back to have editorial deal with it later.
If you happen to have a Mac Pro and can get your editor to come to set, you can do what we did instead, which is save time, money, and have a fully prepped library ready to go for editorial when you’re done shooting.
It’s ridiculously simple.
Working with RED Dragon footage, we copied each RED mag to separate drives (which over USB 3.0 only took a few minutes) and once that was done, I just dragged the Dragon footage into FCPX, quickly batch renamed the clips as they came in, and just started putting the edit together.
If the camera department had a question, I was able to figure out if there was a problem/make sure everything would cut together, and I was even able to transcode the footage down to proxy in the background while I was doing it (which didn’t take that long either because of the Mac Pro).
I was able to monitor in 4k with a 31” Eizo monitor (see an upcoming blog for more on that), and basically, I was able to work with my footage as I normally would if I was at home.
Because the Mac Pro is so portable, transporting the gear and getting set up for this wasn’t a big deal, and the truth of the matter is that I have absolutely no idea why more people aren’t doing this.
4k is easy. RED is easy. Getting the Mac Pro editing on set with FCPX is really straightforward.
Why wouldn’t you want your editor on set? Who wouldn’t want a fully prepped library going back to post when the shoot is over? Why would you want to wait? If you have someone whose job already is to work off a computer handling footage (the DIT)… wouldn’t it make more sense if that person could also be doing work with that footage that’s actually going to save you time in post later?
Post Production becoming a larger part of the production process is inevitable. The workflow is straightforward, all the tools are there, and there just isn’t a good reason that people aren’t already doing it. It’s just a matter of time before producers start connecting the dots, and start saving themselves a bunch of headaches.
ABOUT THE AUTHOR
Sam Mestman, FCPWORKS.
This blog post contains the personal musings of FCPWORKS’ Workflow Architect, Sam Mestman. Sam’s also a regular writer for fcp.co and MovieMaker Magazine, teaches post workflow at RED’s REDucation classes, and is the founder and CEO of We Make Movies, a film collective in Los Angeles and Toronto which is dedicated to making the movie industry not suck. If you’ve got any FCP X questions or need some help putting together a system, drop him an email at workflow@fcpworks.com and you can follow him on Facebook or Twitter at @FCPWORKS.
