“In this article, Sam Mestman looks at each Apple product that can shoot or edit, indicates its place for filmmaking and also tells us which models he recommends. If you’re thinking of buying a new Mac, iPad or iPhone, this is for you!”
Expatriate ex-Wollongong moviemaker Sam Mestman and longtime contributor to Final Cut Pro website fcp.co recently assumed an editorial role there with the aim of stepping up his articles for the site after giving up his coalface role at post-production workflow company LumaForge.
Mr Mestman has been instrumental as an ambassador, educator and advocate for moviemaking for the people throughout the United States and shares invaluable insights in his articles.
I highly recommend regular visits to fcp.co to all moviemakers whether you use Apple hardware and software or not.
“I spent a quarter of a century editing on Avid and several years on Premiere Pro, so why did I decide to ditch them both and go with Final Cut Pro X? I’ll tell ya….
There’s a small but growing number of editors who have made the jump. The process is fairly predictable. Surprise when we first hear a fellow editor rave about FCPX. Followed by a willingness to give it a shot. And then two weeks of massive discouragement and frustration, because it’s unlike any other edit system we’ve used before. And finally, the lightbulb moment, the “NOW I get it” realization that comes with understanding the radically different workflow….”
LumaForge – “Jellyfish shared storage is designed for one thing and one thing only: collaborative editing. This requires a respect for the programs that make video creation intuitive to you. We’re platform agnostic because we believe the problem isn’t with the NLE you’ve chosen, but rather with the lack of ingenuity in the shared storage experience. It’s hard enough to find software you love. We’re making it possible for you to work seamlessly with the programs you’re comfortable with, while no longer needing to continuously pass drives back and forth.”
“At last year’s FCP X World in London, people were dazzled by watching London-based commercial editor Thomas Grove Carter of Trim Editing cut together an Audi commercial live. The speed with which he conducted the edit was mesmerizing….
… But FCP X, with its magnetic timeline and the powerful tools packed into its browser, is built for lightning-paced cutting—you just have to know how to use it!
As I see it, there are two standout techniques involved in Thomas Grove Carter’s process:
Mastery of three-point editing (and its keyboard shortcuts)
Mastery of FCP X’s browser-based system of organization and labeling…”
“… Final Cut Pro X is very good at certain things. Unfortunately Apple hasn’t yet cracked collaborative workflow and sharing Libraries between editors can be clunky.
Jasper Siegers at broadcaster EO in the Netherlands has been working on a project that allows all of its FCPX editors to collaborate by enabling version control. The free app is called PostLab and is available for download from the PostLab website.…”
“… Ultimately this documentary is about how a tool has helped democratize movie making. It is also a product of what it preaches. Final Cut Pro X does empower storytellers and that message was what made me passionate enough to take all the time and energy to make this documentary. It’s a real meta sort of thing.…”
A confession: when I first cracked open Final Cut Pro X in its first iteration, I felt at home with it and its magnetic timeline concept in a way I never had with more conventional NLE products including Final Cut Pro.
In 2011 Apple ended Final Cut Pro as we knew it and started over with a brand new video editing application: Final Cut Pro X. The disruption from this change is still being felt by the film, television, and video industries to this day.
With misinformation running amok, Off The Tracks aims to clear the air once and for all.
This documentary features exclusive interviews with the creative professionals who use the software and the developers who created it. Why did Apple make Final Cut Pro X?
Flanders Scientific Inc. – B&H – although movie editors and color graders regard FSI monitors as the best there are, bizarrely B&H does not appear to stock the monitors themselves but only the accessories for them. I hope that this changes soon. Check out the FSI Solutions MediaLight 6500K Bias Light products for lighting your workstation area with light that will not throw your colour judgement seriously out of whack.
GTI Standard Gray Neutral N8 Vinyl Latex Paint (1 Gallon) – B&H – “Standard Neutral Gray Munsell N8,
Made for the Photo and Graphic Industry, Used in Color Viewing Areas, Water-Reducible Vinyl Latex Paint, Eliminates Simultaneous Color Contrast, Reduces Color Pollution of Viewing Area”
“EOSHD Pro Audio is a preset library for Adobe Premiere and Final Cut Pro X, allowing complete control over camera audio in post…
…Developed with a professional studio engineer in Berlin, the concept of EOSHD Pro Audio is unique. It is designed to fix common audio issues with internal stereo mics on DSLR and mirrorless cameras in an innovative way, as well as offering cinematic moods for specific scenes and shots – like LUTs for audio.
Pro Audio allows all filmmakers and YouTubers to easily start processing camera audio in the edit. The job of an audio engineer is built into the product. That skill, hard work and expert tuning is now yours to drag and drop onto your timeline….”
EOSHD Pro Audio, for drag and drop film sound design in Apple Final Cut Pro X and Adobe Premiere Pro
EOSHD Pro Audio presets for Final Cut Pro X
EOSHD Pro Audio presets in Final Cut Pro X
Audio is not one of my strongpoints and audio editing even less so, so I am always open to information, tools and training that will help me do better, much better.
So I bought Andrew Reid’s EOSHD Pro Audio presets for use in Final Cut Pro X, for the princely sum of $US 27.99, and even though I have not used it with serious intent yet, am already impressed with what it does for movie audio.
“… I first started DELUTS in 2015 after years gathering look profiles that I have generated for film projects. I decided to share these and have tried to build upon this offering creative looks for Video and now for Lightroom & Photoshop using the new Profile system in CC 2018 versions.
The DELUTS Universe set was born after nearly 2 years building the back bone of the system. If you just need looks to go over the top of footage that you have already balanced, then thats the DELUTS Overlook set is a great place to start. If you are working with images and want the look of DELUTS with RAW, TIF, JPEG etc then the new DELUTS Lightroom ACR Looks is the one to use. I have offers when purchasing 2 certain sets. The DELUTS Lightroom ACR Looks & DELUTS OVERLOOK are a great match for video and stills.”
“Blackmagic Design today announced DaVinci Resolve 15, a massive update that fully integrates visual effects and motion graphics, making it the world’s first solution to combine professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for….”
“Apple is introducing a new update to Final Cut Pro X, the most popular version of its professional video editing software, with more than 2.5 million seats. Final Cut Pro 10.4.1 introduces a groundbreaking format from Apple, ProRes RAW, which combines the visual and workflow benefits of RAW video with the performance of ProRes. The update also adds advanced closed captioning tools that allow video editors to easily view, edit and deliver captions from right within the app. Apple is also adding complementary new features to Final Cut Pro companion apps, Motion and Compressor….”