FINALLY! We get an update and some news from Apple about FCPX - Bye R@y
Larry’s Blog
Full Details: Apple Updates Final Cut Pro X Posted by Larry on September 20, 2011 [Updated Sept. 21 with a few extra details and the link to the free trial.]
About two hours after Apple updated Final Cut Pro X to version 10.0.1, earlier today, I was in a meeting with key Apple product marketing folks to discuss the new features. Let me share with you what I learned.
UPDATE ACCESS Unlike past versions of Final Cut, upgrades are only available through the App Store. In fact, if you look closely at the App Store icon in the Dock, you’ll see a small badge appear, indicating that an upgrade is available for FCP; or any other application that you purchased through the App Store.
(By the way, a benefit to upgrading to Lion is that upgrades only download the differences between the old and new software versions, which significantly reduce the download time. I’m still on Snow Leopard, so my download is, um, continuing. Some people are reporting problems with the update. I downloaded mine with no difficulty, however, if you have troubles wait a day and try again. Otherwise, the workaround is to delete your existing FCP X and redownload from the App Store.)
FREE TRIAL Also, for the first time that I can recall, Apple is offering a free 30-day trial for Final Cut. The 30-day period starts when you launch the program, so you can download today, yet not work with it till the weekend without costing yourself time on the demo.
APPLE’S KEY POINTS As our meeting began, I asked what were the key points Apple wanted to convey with this upgrade. The answers were instantaneous:
1. Apple is committed to the professional user. 2. Apple is listening to user feedback and adding major new features far faster than they could do in the past.
I remarked that a release labeled: “10.0.1″ was hardly a new feature release. At which point, our discussion began.
VERSION NUMBERING The new version is numbered 10.0.1 – which, given the past numbering system Final Cut used, implies this is only a minor bug-fix.
However, Apple has moved FCP X to the same numbering system that OS X uses. Using that example, the current version of OS X is 10.7.1, which we commonly call “7.1″. Using the same convention, the upgrade moved FCP X to version 0.1. In other words, Apple views this as a significant product enhancement.
HIGHLIGHTS
* Media Stems Export * XML Import and Export * XSAN network support * Customized timecode by project
…and others. Let me go into detail.
XSAN (NETWORK) SUPPORT
XSAN is bundled with Lion (a small fact that I forgot). However, these network features should work with any network file server provided the data transfer rate is fast enough from the server to the local computer to support media file transfers, and the server supports user permissions and record-locking, which OS X Server does.
Shared media on a server has always been supported by FCP X. However, Project and Event folders needed to be stored locally.
Now, media, Projects, and Events can all be stored on a server. Media can be accessed by multiple users at the same time, however Project and Event folders can only be accessed by one person at a time. In other words, multiple editors can now access the same project, however only one editor can be in the Project at the same time.
(As a network bandwidth thought, render files are stored in the Project folder. You might want to consider putting Events on the Server and storing Projects locally to minimize network traffic. Just a thought…)
XML IMPORT AND EXPORT
The core of Final Cut Pro is metadata and XML is the language of interchange of this metadata from one application to another. From XML we can get EDLs, OMFs, and all the other acronyms that we need. However, the first step is XML. The new version supports both XML import and export. While this feature will be used primarily by developers, the benefits of this feature will be used by all of us.
At our meeting, I was shown an XML export of an FCP X project directly into a pre-release version of Blackmagic Design’s DaVinci Lite! This replicates the ability to send a project to Color, with fewer restrictions and faster export. The Apple representatives told me that the entire DaVinci line would support XML transfers from FCP X.
This is great news for anyone looking to do serious color grading of their FCP projects.
Another use of XML involved CatDV. Again, Apple showed a collection of media stored and cataloged in CatDV, a great media asset manager for the Mac. We built a short rough-cut, using clips stored in CatDV then, with a single AppleEvent keyboard shortcut which activated an Apple Event — Shift+Command+X — the entire rough cut was sent to FCP X, along with all the media and project data. The whole XML transfer process took about two seconds from pressing the button to seeing the new Event with media and the Project opened in the Timeline. This was very impressive.
Two other programs that use XML transfer were mentioned:
AutoDesk Smoke. You can export an FCP X project into Smoke for finishing. (This is lovely!)
Atomos, I was told, is also launching an export utility for their file-based digital recorders that transfers ProRes files and metadata directly into FCP X. In fact, more than 20 companies are in the process of announcing new utilities or programs to work with the new version. (As we realized at the launch, XML import and export is the critical first step to unlocking the flow of third-party applications.)
AUDIO ROLES AND MEDIA STEMS
We spent a long time talking about Roles and Media Stems. Roles are a new metadata category that allow you to assign “roles” to clips. The most obvious is tagging audio for export to mixing, but the benefits are deeper than that.
FCP X is trackless. This means that the “age-old” method of putting the same audio in the same track so that you can mix all your dialog separately from your effects won’t work.
Instead, we assign Roles, which is a special metadata tag similar to a keyword. Some Roles are assigned on import. FCP looks at the file and attempts to determine if it is dialog, effects, or music. (If it guesses right, you save time. If it guesses wrong, you can easily change it.) You can create an unlimited number of new Roles.
Roles can apply to video, titles, or audio. There are three default audio Roles: Dialog, Effects, and Music. All have keyboard shortcuts and you can add as many as you want. You can even add “subroles” — roles related to other roles.
You can also apply Roles to titles – say to flag all English titles or Spanish titles.
When you export, you can export all audio that is flagged with a specific Role. You can export just music clips, or dialog, or effects.
But, Roles can be a real benefit in the Project, separate from exporting. You can solo all clips that belong to a specific role. For example, you can just listen to all dialog clips.
You can highlight all clips that belong to a specific Role – for instance, display all sound effects clips.
You can make invisible all clips in any combination of Roles. This is the equivalent of turning off the green Visibility light at the left side of the FCP 7 Timeline. This is VERY cool, because now, you can hide or reveal any combination of clips that all have the same Role assigned to it.
When it comes to exporting audio, using Roles we can export all our different audio stems, for example dialog, in a single pass. Or, for multiple-language video, Roles makes exporting video in different languages simple. Turn on all the English titles and export. Then, turn on all the Spanish titles and export again. I can see all kinds of ways to use Roles in editing.
(One thing I am not clear on is how Roles is used to export clips for mixing in another application. I have written to Apple to clarify how this works.)
Apple took Roles far further than simply flagging clips for export into something that can help make sense of a complex timeline.
EXPORTING Apple added an entirely new export option to allow exporting Roles. In fact, the process of exporting a QuickTime movie is now faster – if you are working with optimized media FCP just does a simple file copy of the ProRes in the Project to the ProRes of the export. Also, you can export a master QuickTime file and have it automatically loaded into Compressor, while still retaining the master file.
Then, both Blackmagic Design and AJA have announced products that will take the exported file and output it to tape.
OTHER NEW FEATURES
We can now change the starting timecode in a Project. Timecode is set in Project Properties.
We can now add transitions to connected clips with a single keystroke. What this does is both add the transition and converts the connected clip into a connected storyline. (We still can’t add an audio transition to audio in the Primary Storyline without detaching clips, however.)
A new Theme — Tribute — was added.
If you have Lion, FCP X now supports editing in full-screen mode. However, there are no other Lion-specific features in FCP X, so if you are still running OS X 10.6, you aren’t missing anything else in Final Cut.
Exports are now GPU accelerated. In the initial version, exports ran in the background, and they took advantage of multiple CPUs, but they didn’t take advantage of the graphics card. Now, exports are significantly faster. However, in order to take advantage of GPU acceleration, you need to export in the foreground, because the GPU is shared for both exports and real-time playback of Timeline effects.
(An interesting sidenote: Given the technical specs of the H.264 codec, exporting directly to H.264 will be MUCH faster if you use single-pass than multiple-pass. Apple suggested using single-pass unless you can see a difference in image quality, at which point compress as multi-pass.)
Apple released a camera import SDK so that camera manufacturers can provide support for their latest cameras without waiting for Apple to update the software. What this means to us is that we should see cameras launch with support for FCP X built-in.
THINGS STILL MISSING
For the first time ever, outside a Steve Jobs speech, Apple announced products that are coming, but more than 30-days away. Apple publicly stated that both multicam editing and output to broadcast monitors will arrive “early in 2012.”
I tried to pin them down to a more specific date; no success.
Apple said they also fixed a number of bugs, but I didn’t have time to find out what some of them were.
There are still some significant missing features which are not addressed in this upgrade or their announcement: Retaining In and Out points for clips in the Event Browser is undergoing a debate in Apple. So is the ability to read source timecode for clips in the Timeline. Drop shadows for elements other than text and a few generators requires creating a custom Motion template. The ability to apply an effect to a group of clips, then modify that effect — think audio mixing — is still severely limited. There is no out-of-sync indicator for detached audio clips that have shifted in the Timeline. There is no way to set the default project audio to stereo.
Apple stresses that there is far more development planned for the program.
But this update is significant for several reasons:
1. The speed with which Apple was able to get it released. 2. The fact that most of these features are of interest to pro editors; an iMovie editor is not going to care about audio stems 3. The flexibility Roles provide as part of the editing process is really amazing.
If you currently own FCP X, I recommend you get the update as time permits.
Let me know what you think.
Larry
P.S. If you have purchased my Final Cut Pro X training, I will be providing a FREE upgrade later this month highlighting how to use the new features. (This update applies to all new purchases as well.) We’ll send you an email notice when our update is available. Learn more about my FCP X training here: www.larryjordan.biz/fcpx
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