It really is astounding to me how far digital cameras of all ranges have come- especially since the 3-CCD betacams of  the late 80s.  In short, there are many excellent choices as a shooter/filmmaker, so don’t get hung up on which camera to rent or buy- just understand how to use what you have to its fullest potential in the context of telling your particular story.

Watch it here:

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I did the motion graphics portion of this video in After Effects using expressions and the Trapcode Sound Keys plugin to a temp track which the band played live to. Fun to see it come together live at this brand new Hope and Life conference for youth at Lakewood Church a couple weeks ago.

The edited shots of the pipe drummer were shot on a 5D the week before.

It was designed to coordinate live with the giant 40ft LED screen hoisting up from the floor revealing the “pipe drummer” behind the screen. It actually timed out better in rehearsal so I put the rehearsal clip on the lower right and the actual event on the upper right.

Apologize for the mix- its a combination of temp track, live feed and 5D (hence the handling noise early on, lol) mixed in FCPX.

I used Final Cut Pro X to sync up the clips using the new automatic synchronization (it worked), place them on the screen in boxes and added the canned FCPX titles just to see how the whole process worked with this new software. Since there is no multicam yet, I had to blade the clips and cut out holes on upper tracks (old school way)in a “compound clip”. I also used the share to Vimeo feature to complete the experience. The Share Monitor (FCPX version of Batch Monitor) said the upload failed, but when I checked Vimeo, it was there.

check my blog for more notes on FCPX as I post them.

Note, FCP7 and After Effects are my bread and butter (and thats what I used to create the video for the screen), but I do like some of the new features in X- just not ready for any big projects- at least for me yet….we shall see. Good test.

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1. Better Audio Plugins

Finally, we have the full Audio Units (AU) plugin  from Soundtrack Pro and Logic built right into FCPX, complete with metering (i.e. seeing compression reduction) and full keyframing capabilities.  There are more than 100 total, with over 40 coming from Logic Studio.  Media Composer has had good plugins from Protools for a long time- but I found them very clunky and non-intuitive by comparison.  I have not used MC since early Adrenaline days so maybe this has been improved…not sure yet.

2. Easier Keyframing

Adding keyframes (or rubber-banding) is much improved in FCPX.  Simply Option-click on the track to add a KF- even while the track is playing!  The waveform updates in real-time while you adjust the levels- even showing clipped or near clipped levels with red and yellow colors- NICE.   Fade handles are available on each audio clip without adding keyframes- in fact, they override KFs much like a cross-fade does in FCP7.  You can select different fade curves as well by right-clicking the fade.

3. Scrubbing with Pitch Correction

Its much easier to find your edit points now since you can hear what the dialogue is saying while in slow or fast modes.  Yes, JKL all work as expected- only much better and with a smoother, more tactile feel.  Skimming makes it much faster to find sections you’re looking for- although I would not have this enabled all the time, as it can be annoying (shortcut – S to toggle on- off).

4. Sub-frame Audio Editing

Now you can adjust clips down to the sample level- in the timeline.  In previous versions of FCP, this was only possible in the viewer by holding down shift- though it was rarely that useful to me.  With sub-fame editing, it will be easier to sync two clips and hopefully avoid “pops” that occur when placing edits across an audio sample.  You can still add short 2 or 3 frame cross fades to soften edits by selecting the edit, pressing command-T (or whatever KB shortcut you assign- mine is still backslash from my Media Composer days), then double-clicking the transition and enter the value.

5. MP3 and AAC Playback in Real time

No more need to convert your audio files to AIFF or Wave prior to editing them in FCP.  Its a minor thing, but really adds up in significant time savings when auditioning lots of music tracks, etc.

6. Other Audio Notes

One thing I’ll miss is the ability in FCP & and earlier to quickly adjust a clip or multiple clips with the opt-ctrl-L command to that allows relative and absolute level changes.  Alternatively, you can copy the audio animation and all effects from one clip to another clip or multiple clips simultaneously (as in FCP7) by pressing opt-command-V to paste effects.

To adjust levels in real time on a clip by clip basis,  press ctrl- minus/plus (top of keyboard).  This even works while it is playing- very nice.  The Inspector also offers controls to adjust the levels, turn on/off tracks that are connected to the clip, stereo/surround mode, pan, etc.

Audio sync- this is touted as a way to sync double system sound by using TC and/or the audio waveform.  I did a couple tests, but it didn’t work for me.  Hmm, Plural Eyes may still be needed.  More testing to come.

There are lots of nice presets for the plug-ins too- such as “Voice-Over-Enhancement” which is a collection of oft-used plugins that make a VO more punchy for commercials, etc.  Of course, you have the option to make all your own custom presets if you like.

There’s lots more info on Apple’s site, but these are some of the less “marketable” things that stood out to me that are useful on a daily basis.

I’ll try to post some more in the coming weeks on other aspects of Final Cut Pro X that working editors would probably like to know about this radically different editing software.

Let me know your constructive thoughts.

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This is a quick and dirty, non-scientific comparison of the Technicolor and Superflat picture styles. While its not the same as raw or RGB capture, it certainly is a step in the right direction as it gives you more latitude to grade with in post. I’ve been using the “Superflat” picture style for a long time for everything I shoot, so I’m not comparing it to the standard or neutral settings built-in to the camera (I prefer NOT to do that as I just can’t get enough out of the blacks). Technicolor isn’t a huge change from superflat, very subtle at times, but it definitely gives you a slight lift in the shadows and what looks like a very tiny bit more room in the highlights (watch :42-:46). Also, it seems to handle flesh tones better (watch the guy closeup at :31) and doesn’t go as pinkish in the reds.

The other thing that is promising about Technicolor and Canon developing this is that now we have a standard style to apply to 5D Mark IIs when on a multicam shoot or when you are using someone else’s camera body. Yes, there are other manufacturing issues that can cause bodies not to match but this at least gets us closer than we were.

CineStyle was created by Technicolor color scientists and
engineers over the course of the last 12 months with the
cooperation of Canon U.S.A. Inc.

Bottom line is that I liked what I saw so far and hope to use on on all our future productions.

Tech notes:
I shot this in about 15 minutes and graded in another 10min in Color.
Nikkor 135mm AI lens (old manual)
ISO outside 125
ISO inside 1600
No filters or ND (so forgive my shutter over 1/50th:))
H.264 to ProresHQ conversion with MPEG Streamclip
Edited in FCP 7
Graded in Apple Color (where noted)
The 2nd half of the video is a repeat but without any grading.
Exported to H.264 for Vimeo.

Let me know what your results are, I’d love to hear.

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This was a very unique project for us as it was all shot with a special high speed camera called the Phantom Flex. Many shots are up to 2560 fps. The result is footage that, when played back at normal (24fps) speed, shows us motion that we normally don’t see (aka God Vision).
What better way to celebrate how God sees us when we become “New Creatures” in Jesus Christ! 2 Cor 5 17

Thank you to EVERYONE involved, the crew that worked tirelessly for days and nights – and CAST that donated their time so generously.

Beautiful Things by Gungor.

Used by permission.

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I was really impressed by the demo which made it abundantly clear that Apple has been doing their homework very seriously with PROs in mind. This is NOT iMovie Pro…

These are some of the features I wrote down at the Supermeet Final Cut Pro X Sneak Peak – and there’s lots more they didn’t have time to show. It was really an overview.

Many people ask if this is an update to the entire studio- apparently that is coming, but this was a preview of FCP specifically.

Larry Jordan has an excellent article with a quote from Richard Townhill, Director of Pro Video Product Marketing for Apple:
“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.”

Resolution Ind playback up to 4k
no transcoding necessary for H.264 clips (showed a Go pro clip mixed with Phantom and Red it looked like)
built in Color management
using Grand Central Dispatch for background rendering using all cores and RAM at 64bit

Content auto analysis
People detection (i.e. 1 shot, 2 shot)
Scene detection
Color balance
Audio cleanup
Noise, hum, channel cleanup (used, unused channels)

Range based keywording
Smart collections
Clip connections
Magnetic timeline
Sample level timeline
Audio level range editing
Audio curves /fades
Vastly improved keyframe engine directly on timeline (kind of like Motion)

Compound clips – like nesting but more elegant
Inline precision editor
Audition- a timeline holding area for other shot options- instantly updates sequence including length, etc.
built-in Color Grading with primaries, secondaries, masking, curves and more.

Automatic audio/video syncing using waveforms.

I’ll post about this more soon.

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This was at the Movie Engineering booth- it’s built like a tank and looks FAST!

cool.

Yeah, thats a RED ONE under there.  It has full roll, pan and tilt once its airborne.

$6500/day includes the Red and three operators.  $3500/day for a smaller DSLR suitable model.

DC Slider Jib.

Matthews said they were shocked at how popular this was at the show- already sold out.

Its a combination slider/jib and built really well.  The Kessler is great, but if you need something even beefier and more flexible, look at this sweet piece of machinery.  It has a built in counterweight system that allows the head to stay put even when the track is at an extreme angle.  Its not really designed to do a track and jib move simultaneously- however, if you don’t mind a dutch angle and are really careful (maybe with someone helping on other end) you could do some pretty complex moves- almost Technocrane- style.

AND, there is a timelapse, motion control option for the slider.  What sets this rig apart is you can manually do a track move (start slow, speed up, slow down, etc. or whatever you want) and it will RECORD what you did and playback at different speeds!  Wow for this price-point.  Also, I could be wrong about this (I’m going on memory), but I believe it controlled the pan and tilt on the head as well.

$7500 for system (not including base tripod or head) , $2,000 additional for motorized package.

http://www.msegrip.com/

They’ve been around since last year, but still way cool.  Its really designed to work with Epic- they borrowed one from Red for the show(they are still waiting on theirs).

Go Pro Stereo 3D rig on an RC helicopter.

They can now do 3D just by adding a $100 housing to 2 Hero cameras.  Syncing is done through a special website.

JL Fischer jib on a Fischer 9 dolly.

For a fraction of the price of most others like this, all-aluminum construction from S. Korea.

They also had a $300 or $400 slider that was pretty slick.

Really nice guys too.

I don’t see this on their site yet, I think its shipping in a few months.

http://konovaphoto.com/

It’s not cheap, but when you compare it to the approx $150,000 price tag of a Phantom Flex, the $30,000 is not bad- especially as a rental house item. I love the Flex(we shot with one last week), but it doesn’t always fit into most budgets. I can’t wait to try this new Fastec out!

Phantom Flex clip 1 from Dan Rubottom on Vimeo.

Wow, what a week learning how to shoot not only with a new camera, but an entire different workflow on set.

Here’s one of the random clips we shot this week with the Phantom Flex. We mostly shot people stuff all week- more of that later- but did a couple fun tests too.
I think this was around 2000 fps.
Zeiss 100mm T3 Macro

Now, time to edit- main project coming soon.