Apple delivered on its promise of an update to Final Cut Pro X this morning. They released Final Cut Pro X v10.0.3 (Full Specs). The update fixes SEVERAL glaring gaps that users have been asking for.
The major features include:

• Multicam editing with automatic syncs up to 64 angles
• New chroma keying
• Enhanced XML for interchange with third party apps that can include color grading and audio keyframes
• A BETA driver for broadcast monitoring that supports Thunderbolt devices as well as PCIe cards.
• Layered Photoshop graphics support
• Manual media management with the ability to relink

• The application still costs $299.99 (US) to new users.
• The update is free from the Mac App Store
• A 30-day free trial of Final Cut Pro X is available at www.apple.com/finalcutpro/trial.

Third-Party News:
Intelligent Assistance releases 7toX for Final Cut Pro, a lightweight application for translating Final Cut Pro 7 projects to Final Cut Pro X.
The application sells in the Mac App Store for $9.99 (US). The application looks to rely on the new XML features released today in the free update.

• 7toX for Final Cut Pro translates Final Cut Pro 7 Bins to Keyword Collections in Final Cut Pro X,
• Converts Sequences to Compound Clips that can be browsed and edited.
• Metadata and log notes from Final Cut Pro 7 are migrated to Final Cut Pro X.
• Motion tab settings and keyframes are translated into equivalent parameters in Final Cut Pro X.
• Layers from Photoshop files are properly preserved
• More than 30 Transitions and 70 Filters are matched and applied — with detailed reporting in context in the Magnetic Timeline
• 7toX also allows editors to migrate their Final Cut Pro 7 multicam projects to the latest version of Final Cut Pro X.

• Non-beta broadcast monitoring
• The option to see a second window when working (I find it impossible to line up a 3 point edit with one window).
• Ability to switch to a track-based timeline
• Support for raw workflows
• Support for several missing codecs

Join Adobe, Government Video Magazine, and industry experts for a day of valuable information concluding with complimentary pre-release screening of the groundbreaking new film, Act of Valor. This event is targeted for those working in the government or military.

• Bring at least one alternative set of clothing to the interview.
• Herringbone, stripes, or small patterns do not look good on camera. Avoid vivid patterns, plaids, and geometric shapes.
• Please keep your jewelry simple.
• Do not wear bright white. Cream, eggshell, or light gray are preferred.
• Unless told otherwise, maintain eye contact with your interviewer throughout the interview.
• Relax. Your crew is here to make you look good.
• It's okay to revisit an interview question, or to occasionally take a "do-over."

Be careful to keep your histograms from getting slammed to the right.
ISO 125 | 1/50th sec. | f/14 | 32mm lens

On the other hand, I also shot the scene and exposed for the “boring middle.” In this case the histograms were more balanced and I had a lot more information to work with. After color correction (a Levels and Saturation adjustment), the shot looks a lot better.

It’s better to slightly underexpose than overexpose when shooting video. Notice how the shadowy details in the rocks are preserved better in this version.
ISO 100 | 1/60th sec. | f/14 | 32mm lens

The use of a loupe or viewfinder is essential for outdoor shooting. Bright light on your LCD just makes things damn near impossible to judge. If this is out of your price range, wear a hat and use it as a shield for time to time to judge exposure. I can’t emphasize enough though that a loupe should be one of your first investments if you become serious about shooting video on your DSLR camera. By removing all light pollution, you can make accurate decisions.

Photo by Vanelli

Be sure to pre-order my new book – Creating DSLR Video: From Snapshots to Great Shots

2. Open your animation When you’re ready, it’s time to open the image sequence in Photoshop. Choose File > Open and navigate to your folder that contains the image sequence files.

3. Import a sequence Select only the first frame of animation (selecting more than one frame will disable the animation). Make sure the Image Sequence option is checked. Click Open to import the sequenced frames.

5. Check playback You can use the Animation panel to check your animated movie. When satisfied, you can choose File > Export > Render Video.

This post sponsored by iStockphoto – Save 10% – Get a Free Audio Track

Drobo S

• Creative pros and photographers.
• Can also work for many video formats
• 5 drive bays (Fill with your own drives)
• eSATA, FireWire 800, USB 3.0

Drobo Pro

• Creative pros and photographers. Works well for video workflows too.
• Single-computer storage for creative professionals and small business
• 8 drive bays
• Gigabit Ethernet for iSCSI, FireWire 800, USB 2.0
• I prefer Gigabit Ethernet for video editing (very fast)

Also, be sure to follow me on Twitter and Facebook

• www. twitter.com/rhedpixel
• www.Facebook.com/richHarringtonStuff

• www.twitter.com/drobo
• www.facebook.com/Drobo

Wednesday, November 30 | 5:30pm - 8:00pm
Washington, DC Convention Center
http://on.fb.me/vt8dtC

Don't miss this special Animator's Roundtable at GV Expo. It's FREE and open to the public. This is the chance for DC's best Animators, Motion Designers, and VFX Artists to meet their Producer counterparts.

Producers and Animators don't always understand each others areas of expertise. Creating an animation or graphics heavy video can often be daunting, so the Animator's Roundtable has activated its universal translator to help Producers and Animators speak the same language and communicate better! Our expert panel, a mix of Producers and Animators, will share their knowledge and a few tips on planning for and using animation effectively. They'll help you figure out how to solve your creative challenges with the magic of graphics.

Special Guest Panelists:

• Chris Dominici, Potomac Motion
• Richard Harrington, RHED Pixel
• Pradeep Mistry, PCM Animation
• Ann Ramsey, US Dept. of Health and Human Services

• This has some serious potential for compositing
• RotoBrush, Content Aware Fill… apparently Adobe wants to take every hard job and make it easy.

More and more editors are switching to Adobe Premiere Pro CS5.5 to make them more efficient. If you’re wondering if Adobe Premiere Pro is right for you, join us for a free Webinar. Two long-time industry pros, Richard Harrington and Abba Shapiro, made the switch to Adobe Premiere Pro and will show you why it is now their preferred editing application. You’ll get the real story on the Mercury Playback Engine, what it means to edit footage natively, how you can remove bottlenecks in your pipeline when transferring projects from other applications, and how to work with Adobe After Effects and Photoshop.

• To showcase Adobe video streaming, we will be hosting the event on Adobe Connect.

• Please use the following URL to access the webinar: https://my.adobeconnect.com/_a295153/pcmalldv/.
• Once you are on the Adobe Connect website, please log on as a guest and enter your name.
• Feel free to contact katie.dupont@macmall.com with any questions. We look forward to you joining us on Tuesday!

Important Update:

• Sync sound workflow – GREAT
• Dialog replacement – AWESOME

See my full review over at 3Exposure.com – http://3exposure.com/2011/09/19/how-my-iphone-saves-my-time-lapse-shoots/

This post sponsored by iStockphoto – Save 10% – Get a Free Audio Track

You can select multiple clips by holding down the command key and clicking on each clip. You’’ll know a clip is selected by the yellow selection box at the edge of each clip.

2. Choose Clip > Synchronize Clips (Opt+Cmd+G.)
A new clip is created in the Event Browser. This new clip is a compound clip. Which means it is really a clip made up of at least two other clips.

3. Look for a new clip in the Event Browser.
Newly synced clips do not have any Keywords attached. If you’re filtering your Event Browser using a Keyword collection you might not see the new clip. Be sure to switch your view to see all clips in the Event. You might want to tag the synced clip with additional keywords.

Depending on the size of the original files, this new clip could appear very quickly or take a while. If you can’t find the clip, simply select the search box in the upper right corner of the event library and type in “Synchronized clip.” You probably will find it after you type “synch.”

4. Select the clip in the Event Browser and click the Play button.

5. Watch the clip back and check for sync.
You should hear both the reference audio and the dual system sound playback. Later you’ll learn how to discard the audio.


Want to learn more about editing DSLR video in Final Cut Pro X? Then check out From Still to Motion: Editing DSLR Video with Final Cut Pro X (Coming Soon)

Don't worry Adobe Premiere Pro fans… that version is in the works too and will be updated and ready for the next version.

iStockphoto/adventtr

I have never met a video that wouldn’t benefit from some editing. The whole purpose of video is to compress time and distill a message to its essence. It is important that you refine a project by continuing to strip away its unneeded parts. Never have I heard an audience complain that a video was too short. There is a reason to edit and it becomes increasingly clear when you actually watch people as they watch your project. Do your best to strip a project down to its essence and only add what is needed.

You can download the free eBook "From Still to Motion – The Business Manifesto" to get practical advice for professionals working in video and new media

• ePub – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.epub
• PDF – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.pdf

• iStockphoto/hillwoman2

Every video project should be split into progress payments. By splitting the financial payments across progress you ensure protection for your financial security. Typically, I recommend the use up to five, equal payments. If project’s have extremely short timelines or do not involve a full-service production (such as shooting only) then adjust your payment schedule.

• Project Initiation — Once the project scope and budget is agreed upon, a deposit for 20% of the project should be submitted.

• Preproduction — This stage encompasses the bulk of project planning. Tie a progress payment to the delivery of the script or other relevant preproduction tasks. Issue a progress payment upon delivery of final preproduction items to the client.

• Production — I recommend the submittal of an invoice once shooting begins. This is typically the most expensive stage of a project. Be sure that you have received some form of payment before production begins. Do not hand off project footage until at least 50% of a project’s budget is in hand.

• Postproduction — Once editing begins, another progress payment should be issued. Some choose to watermark projects until at least 66% of a project’s budget is received.

• Closeout — A final bill that reflects any change orders should be generated at the completion of a project. Be sure that your agreement states that you retain certain rights to a production until payment is received in full.

• ePub – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.epub
• PDF – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.pdf

• iStockphoto/selimaksan

• ePub – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.epub
• PDF – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.pdf

Mastering the Adobe Premiere Pro Timeline Panel – by Richard Harrington

The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The session is being run by Richard Harrington of RHED Pixel.

The class is on Friday, September 30, at 3:00 p.m. – 4:00 p.m. EST.
Just go to the Adobe Connect Room: http://my.adobe.acrobat.com/askcspro.

The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.

To check the session start time for other time zones follows: http://bit.ly/q13I6l
 
The signup for the event is on Facebook (but you don't need an account). This will send you reminders about the event.
http://www.facebook.com/event.php?eid=274628395898390

iStockphoto/kemalbas

• Video is a multi-headed beast that’s constantly screaming to be fed and nourished. You’ve got people in front of the lens, people behind the cameras, and even more behind the scenes. Video projects are complex with multiple stages of approval along the way. You need to control things and have a plan (and even another plan for when that one fails).
• 
  Project Management is not unique to video, but it is a critical skill due to the complex interconnected nature of video projects. Chances are that you may have some project management skills… but I want you to go deeper and actually study the formal business practices of project management.
• 
  The best decision I made in my professional career as a video producer was to formally study Project Management. I chose to get a master’s degree in it, and it saves me nearly every day. Many schools offer consolidated courses and workshops; you can pursue an educational certificate, or even just start your own independent study.
  
  While I’ll emphasize project management, I mean the business practices. It is important to learn how to balance the scope of the project, track your resources, and maintain budget and quality. Simply buying a project management software package will make you no better a business pro than owning Photoshop will make you a photographer. Software is a tool, not the foundation of a professional career.
  
  We use project management principles to clearly describe the work to be undertaken. We measure progress and track changes so the end budget reflects the work performed. We closely monitor the budget and schedule (as these are often more important or easier for the end client to measure). Quality video is awesome... and the world is filled with talented folks who can make it. Fortunately (for true business professionals) it takes more than just creative talent to make it in the world of video. Business acumen and client management are just as important.

• ePub – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.epub
• PDF – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.pdf

Photo courtesy iStockphoto/Mathieu

While I’m not a road warrior, I easily log 50 flights a year for my job. I’ve had to travel with equipment all over the world for both photo and video projects.  Traveling just gets more and more expensive these days.  Here are a few rules that I apply to getting there safely with my sanity and equipment intact.

Carry It

• A roll-on bag with all my lenses and camera bodies. I have had luggage stolen, the thieves know what gear bags look like.
• A laptop shoulder bag. With laptop, power supply, 2 TB of portable storage, and spare cables for all items.
• The Internet. I have an iPad, an iPhone, and a Wireless Modem. Why do I have 3 internet connections at all times? Because its cheaper than paying for WIFI at the airport and hotel.  Plus its much more reliable than counting on clients and coffee shops.
• A change of clothes. Because your bag will get lost at the worst time

Check It

• Weigh your bags. Weigh your bags before you fly.  A simple bathroom scale is worth keeping near your gear.
• Prepay. Some airlines offer annual passes for baggage, while others give you a free bag with their branded credit card.
• Choose wisely. One of my favorite airlines is Virgin America.  Not just for their lovely service and planes (with Internet), but for their $25 per bag and up to 10 bags policy.
• Pack a bag. Overweight bags are more expensive than checking another bag.  I carry a very lightweight bag inside my suitcase for “overflow.”
• Skycaps are your friend. Those great folks out front of their airport are often nicer than the folks inside.  Just walk up and hand them a five or ten dollar bill with your driver’s license.

Rent It

• Hire local. Find a local crew person or assistant for the market you’re traveling to. These can be a lighting assistant or someone to help with gear on the shoot.
• Find a peer. Use the ASMP Find a Photographer app or site to find a photographer to rent gear from. For video crews try the Creative COW services directory.
• Look for a grip house. We typically rent lighting equipment and support gear. from a grip house, which are used by the video and motion picture industries.

• iStockphoto/mattjeacock

• ePub – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.epub
• PDF – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.pdf

Units & Rulers

• Set Rulers to pixels.
• Set Type to points.
• Ensure that screen resolution is set to 72 pixels/inch.
• Ensure that the Point/Pica Size is set to PostScript (72 points/inch) so that type acts like other video applications.
• Click Next.

Guides, Grid, & Slices

• I find that a Light Red guide is easier to see than the default Cyan.
• Set up a grid using Lines with a gridline every 40 pixels and 4 subdivisions. You can now turn the grid off and on from the View menu or from the keyboard using Cmd+" (Ctrl+").
• Disable Show Slice Numbers unless you are doing a lot of web work. Slices are used with rollover graphics to trigger button effects on web pages.
• Click Next.

Plug-Ins

• If you need to travel with your plug-ins on a removable drive (for example a freelance assignment) then you can specify an Additional Plug-Ins Folder.
• Click Next.

Type

• Check the box next to use Smart Quotes if you’ll need true quote marks and apostrophes more than foot and inch marks.
• Leave Enable Missing Glyph Protection checked
• Choose to Show Font Names in English (or the native language of your software).
• Check Font Preview Size and specify a size that you like. The Huge size is helpful if a producer or client frequently sits over your shoulder.
• Click Next.

3D

• Click OK.

General

• Adobe Color Picker (a consistent, cross-platform color selection tool).
• Image Interpolation set to Bicubic (best for smooth gradients).
• Use Shift Key for Tool Switch unchecked.
• Resize Image During Place checked.
• Zoom Resizes Windows checked.
• Zoom with Scroll Wheel checked.
• Click Next.

Interface

• Set UI Font Size set to Medium or Large depending upon the resolution of your display. Use a larger size for bigger monitors.
• Leave Show Channels in Color unchecked. This option affects how your channels and images are viewed and diminish the on-screen viewing quality.
• Uncheck Enable Gestures if using a laptop (unless you love them).
• Click Next.

File Handling

• Always choose the Save an Icon and Macintosh or Windows Thumbnail options. This will allow you to quickly locate files through visual cues.
• Always append file extension with lower case tags.
• Set Maximize PSD and PSB File Compatibility to Always.
• Click Next.

Performance

• Memory Usage identifies how much RAM you have installed. Photoshop has a minimum requirement of 1 GB for CS5.
• Allow at least 20 History States (levels of Undo). You will vary this number based on RAM and personal experience as you grow less dependent on undos.
• Memory will generally not be a big deal because you’ll work primarily with low-resolution sources in this book. However, if you have extra (local) drives, make Photoshop aware of them. Set your emptiest drive as the First Scratch Disk. Ideally you will choose a drive that is not the system (boot) drive.
• If you have a robust video card and will be doing a lot of image clean up, then check the boxes for Enable OpenGL Drawing.
• Click Next.

Cursors

• Set Painting Cursors to Normal Brush Tip. I personally prefer to check Show Crosshair in Brush Tip. (The Caps Lock key disables this preview feature.)
• Set Other Cursors to Precise. This way, you can actually see your sample point for your Eyedropper and Stamp tools.
• Click Next.

Transparency & Gamut

• You can change the grid size to make it easier to see transparent pixels.
• You can change the grid color if you despise light gray. You can also disable the grid altogether. Remember, the grid will not print or show up in your video graphics.
• Click Next.

Mastering the Adobe Premiere Pro Timeline Panel – by Richard Harrington

The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The session is being run by Richard Harrington of RHED Pixel.

The class is on Friday, September 30, at 3:00 p.m. – 4:00 p.m. EST.
Just go to the Adobe Connect Room: http://my.adobe.acrobat.com/askcspro.

The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.

To check the session start time for other time zones follows: http://bit.ly/q13I6l
 
The signup for the event is on Facebook (but you don't need an account). This will send you reminders about the event.
http://www.facebook.com/event.php?eid=274628395898390

Photo by iStockphoto/ambritsview

One of the most common requests I hear is the desire to take frame grabs from video and format them for use in print. Unfortunately, the mediums just don’t mix very well. Remember, in order to capture between 24 –30 frames per second, a small image is grabbed. Depending on your format, you end up with around 640 X 480 square pixels of information for standard definition. If you condense these pixels to a print resolution of say 300 ppi, you get a print size of about 2 X 1.5 inches. Slightly larger than a postage stamp, but not very useful for most printing jobs. For HD, things are a little better as you have up to 1920 X 1080 which means about 6.5 X 3.5 inches.

In Photoshop, we can “up-rez” an image through the Image Size command (Image > Image Size). Since this information does not currently exist, the computer will attempt to interpolate the information. I recommend that you switch pixel dimensions to percent, and then up-rez exactly 200% using the nearest neighbor interpolation method. Are the results great? No. But they are acceptable for some uses. An excellent Photoshop plug-in called Genuine Fractals uses advanced processing to generate high-quality files from low quality sources. You can find out more information at http://www.ononesoftware.com.

This post is sponsored by iStockphoto

Want bonus credits for download? – http://www.istockphoto.com/richardharrington.php

iStockphoto/FPM

Those who “know” me are likely thinking this is a hypocritical statement. But the truth is that you cannot be good at everything. It takes a keen awareness of your personal strengths and weaknesses in order to survive in the world of video.

Truly professional productions require a myriad of source elements. Video is much more than just moving pictures. You’ll need high-quality sound, compelling music, a well-written script, compelling graphics, art direction, and more.

I recommend a triage approach to developing a skills inventory:

• Marketable Services – These are skills that you feel confident in selling to others. You should aim to keep this list below ten items (after all there’s a reason you have ten fingers). Be sure to develop these skills continuously through exercise (practical use) and training (conferences, books, online learning, and social media).
• Potential Services – This category houses skills that you both want to offer and show potential aptitude. Look for opportunities to develop through personal projects and volunteering your time. Look for a mentor that you can serve under and log additional practice time.
• Outsourced Services – There will be lots of services you need to make a video project. You can’t be good at all of them. Learn enough so you understand what’s involved, then build a good pool of talent that you can hire. There is no shame in hiring other professionals. In fact it is critical to the success of the industry. Through the mixing of creative professionals, new ideas are born.

• ePub – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.epub
• PDF – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.pdf

iStockphoto/belterzview

Find other professionals to work with can seem quite daunting at first. This is especially true if you are changing markets or professional focus. It’s important to realize that the film and video community is well established with its own professional groups and even unions. Finding qualified video crew is not difficult (if you know where to look).

• Craigslist is Not Your Friend – Before we tackle where to look, lets get where not to look out of the way. I find that Craigslist (and others like it) are filled with ads looking for crews. Nearly all offer no pay (just experience). As such, most professionals don’t even bother looking here for work. It’s hard to find true talent when you’re surrounded by wannabes looking for a handout.

• Professional Groups – There are numerous professional groups in most markets. A simple web search may turn up user groups for specific technology like tools from Apple or Adobe. You can also find groups that maintain directories and member programming such as MCA-I, Women in Film, and others.

• Grip and Rental Houses – Many markets have grip and rental houses that rent lighting and support equipment used in the production of film and television projects. These places also rent to other video professionals and usually maintain or even staff crews that can be hired. These are great places to start when you need to hire in a different market.

• Teaming – Chances are some of your colleagues are also getting into video production. Work with those you know. I have found that collaboration with colleagues works far better than viewing everyone as your competition. Work openly with those you trust and respect and go out of your way to work together. Those who are worth working with will certainly return the favor in some way.

• ePub – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.epub
• PDF – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.pdf

Photo by iStockphoto/JuSunview

Clientcopia – www.clientcopia.com
This site lets me know that everyone has crazy clients. Good for a laugh and a pick me up.

Basecamp HQ – www.basecamphq.com
I use this online project management tool for both my companies. This keeps me organized and ensures open communication with my clients.

Apple Trailers – www.apple.com/trailers
I’m a movie junkie. Plus this is an excellent way to see the best lit, best composed shots in the whole movie.

Rafael Concepcion – www.aboutrc.com/blog
RC is a helpful author and podcaster who shares his discoveries in great posts. He’s a natural storyteller and very passionate.

Twitter – www.twitter.com
I follow a great group of photographers and media pros. This is the water cooler/bar for the digital age. I get news, gossip, and strong opinions. Feel free to follow @rhedpixel and share any news you have with me as well.

Photo Focus – www.PhotoFocus.com
This site is an extensive collection of articles and resources. There are daily posts and I truly enjoy the breadth of coverage.

Screenr – www.Screenr.com
If I need to record a quick tutorial or show a colleague a technique, Screenr is great.

Creative COW – www.creativecow.net
This is where I go to get all of my video questions answered. You’ll find active forums and extensive selection of tutorials and podcasts.

Kelby Training – www.kelbytraining.com
This site offers a large selection of classes and tutorials by some of the top photographers and photoshop users in the world.

Mac Rumors – www.macrumors.com
I’m an Apple enthusiast. I like to know what’s going on as well as what might be going on in the Apple ecosystem.

Photoshop Disasters – www.psdisasters.com
This is another site that’s good for a laugh. It’s also educational as you can learn from other’s mistakes.

Triple Exposure – www.3exposure.com
This one is a blog I share ... but that doesn’t mean I don’t read it every day. There are great comments and resources all about my three favorite styes of photography – panoramic, HDR, and time-lapse.

How about you? What are your must read sites? I’m always looking for more.

This post is sponsored by iStockphoto

• ePub – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.epub
• PDF – http://www.richardharringtonblog.com/ebooks/FS2M_Biz.pdf

• The power is in the trim (PDF): details of basic editing and trimming functions, including ripple, roll, slip, and slide edits, as well as use of the Trim Monitor
• Working with Final Cut Pro (PDF): transferring projects and footage between Final Cut Pro 7 and Adobe Premiere Pro
• Working with Avid Media Composer (PDF): transferring projects and footage between Avid Media Composer and Adobe Premiere Pro
• Importing media (HTML): several methods for importing media, as well as an introduction to integration with other applications in the Adobe Production Premium suite

I see a lot of folks try to flip cameras as they go from one model to another. I know for many, the economic realty is a need to trade-in or re-sell gear in order to upgrade. The truth however is that the amount you’ll see for used gear may not be worth as much as you’d hope. I subscribe to the belief of putting the gear to work.
When it comes to shooting time-lapse, a second camera body (or even a third) can really come in handy.

• A second body can be set to a different ISO or aperture when shooting tough exposures (like sunrise or sunset)
• You can shoot different focal lengths on each body to create dramatically different shots. You can get your master shot and some additional angles all at once.
• A spare body can be especially useful if you are shooting content that requires simultaneous coverage like an event or live process, such as at a construction site.
• Shoot raw on one camera and JPEG on the other.
• You can shoot at different intervals to produce different looking footage

1. Duplicate your current sequence in Adobe Premiere Pro in case you change your mind.
2. Select the clips in the current timeline that you want to process.
3. Choose File > Adobe Dynamic Link > Replace With After Effects Composition.
4. The selected clips are sent to After Effects. If its not running already, the program will open. Name the project and click Save.
5. Double-click the composition to ensure it is open, then click in the Timeline panel.
6. In After Effects, choose Layer > New Adjustment Layer. You can use an adjustment layer to affect all clips below.
7. Choose Effect > Blur > Fast Blur and crank the filter up to a radius between 15 and 90 pixels. Don’t worry if it looks over-done.
8. Click the Repeat Edge Pixels checkbox.
9. Switch to modes in the Timeline and try different blending modes such as Add, Overlay, Soft Light, or Multiply. In fact you may want to try all of the different modes to see which one you like best. Depending on your source, you may need to use different modes, to get results.
10. Adjust the opacity of the adjustment layer to taste.
11. Choose File > Close Project. Save your changes.
12. Return to Adobe Premiere Pro to see the updated effect. If you want to update the effect, highlight the linked composition and press Cmd+E (Ctrl+E).

___________________________________________________

For more videos and a complete training experience, check out An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

The Great Camera Shootout 2011: Episode 2 ~ "Sensors & Sensitivity" from steve weiss on Vimeo.

My Zacuto Electrnic Viewfinder showed up Saturday. I'm already using it on my second shoot tonight. This thing is so awesome in that I can really see things like exposure and focus with a true viewfinder. The buttons are easy to use, the unit feels solid (but weighs practically nothing).

The best part? The fact that I've only had it a few days and Zacutto is already adding features via a free firmware update (love that).

Here's the complete user manual so you can check out the features.
Download the current EVF Manual: Z-Finder EVF Manual

Heres the free firmware update (took 20 seconds to update)
Current Version of Firmware: 1.01.00.  Click Here To Download
Firmware 1.01.00 includes the following updates:

• Audio meters enabled that are able to be positioned in any of the four corners.
• Battery meter can now be positioned in any of the four corners
• Audio loop through enabled
• Underscan now implemented
• Can now save and recall Chroma, Contrast and brightness settings as presets.
• Changes to color, brightness and contrast are now saved on power down and return on power up.
• Red One, Sony FS100 scaling presets added

The App Store scores for Final Cut Pro X continue to rise over time. In the strictest sense, the app is no longer failing.

Here are a few observations I'd like to share:

• The App has fallen off the Top 10 list of selling apps (down to 11). This is largely due to initial demand being satiated and Apple removing it from the home page (except for a little button below the fold).
• The App is firmly entrenched in the #2 spot for Top Grossing. This means Apple is making good money of the application and it can b considered a success financially.
• The user community remains fiercely divided. I've spent the last few weeks entrenched in user group events and industry functions. Apple, Adobe, and Autodesk are certainly gaining new users.
• The next dot release update is going to be a watershed moment. MANY (and I mean many) are taking a wait and see approach to see how much Apple can put back in.
• I heard from a reliable source at the Atlanta Cutters Event that the XML resources will be released to developers in the next two weeks. This will open up new opportunities for FCPX to participate with other professional applications. No word on cost implications however.
• I have heard from many people switching (or thinking of switching) to Adobe Premiere Pro how surpassed they are at its performance and features. These same people love After Effects and Photoshop, yet seem surprised at how good the integration is between the three. Dynamic Link, Native Editing, and Adobe Media Encoder continue to please.
• Hardware companies like AJA are broadening their support to all the manufacturers. Avid, Adobe, and Apple are all seeing new products and new support with drivers.
• Several major places are adding in or strengthening their use of Adobe and Avid tools. I've spoken to folks at Discovery, CNN, Turner, American University,
• The DSLR crowd (including Vincent Laforet, Phillip Bloom, and Shane Hurlbut) are now using Adobe Premiere Pro. The RED community is quickly switching too.
• The industry got a quick shot of evolution. "Everything just changed in post" rings true. It's just that a lot more shuffling is occurring than anyone expected.

As disgruntled Apple Final Cut Pro users search out options for professional video editing, Adobe Systems has been a major beneficiary of the big switch since FCPX hit the market. In her interview with Jim Guerard of Adobe Systems, Debra Kaufman finds the result of Adobe's offering for former FCP users to be a big uptick in pro video users.

Article Focus:

Creative COW has posted a great article that goes in-depth with both Adobe staff and users about why folks are switching to Adobe Premiere Pro.

Some of my favorite parts:

Adobe also created another key feature: ensuring integration of Adobe Premiere with the new generation of digital cameras. "We natively support all these camera formats from Sony to Panasonic, from RED to the Canon 5D Mark II," says Guerard. "You don't waste hours and hours of transcoding on ingest. The time and money we save people and the amount they're able to get done is huge."

and

Who's making the switch to Adobe Premiere Pro? According to Guerard, the broadcast and indie filmmaker arenas are the most likely suspects. "In broadcast, there is so much happening with multi-screen delivery and distribution," says Guerard. "With Premiere, you can seamlessly take the content out to all kinds of platforms. And broadcasters know us and trust that we're dedicated to this market. They know they'll get a brand new release every year. For professional editors who count on their software application to pay the bills, they need that kind of partnership and collaboration."

Be sure to read the whole article here – http://library.creativecow.net/kaufman_debra/Adobe-offers-switch-FCP/1

______________________________________________________________________

If you'd like to follow my public Facebook page – click here – http://www.facebook.com/RichHarringtonStuff
More of a Twitter person? Then click here – http://www.twitter.com/rhedpixel

Detailed Adobe Premiere & Dynamic Linking Workflow from Vincent Laforet on Vimeo.

• Setting up a project with Premiere, including what settings are best to modify, and what settings are best to leave alone.
• How to bring media into your project through the Media Browser and use its features efficiently. Including how to organize clips, and bring them into your sequence timeline.
• How to best create your sequence with optimum settings for the video you are working with and how to set up an adequate number of audio tracks.
• How to set in and out points on your raw footage and either overwrite or insert a shot into your timeline, as well as a demonstration of Adobe’s patching feature.
• A demonstration of the ripple tool (which adjusts one side of an edit), roll tool (which adjusts both sides of the edit), the razor tool (which splices footage), and the rate stretch tool (which changes the speed of your clip).
• How to map your keyboard with custom hot keys, as well as set it up with FCP hot key commands (for those of you making the transition).
• A demonstration of how to use the marker tool to create points on your timeline, and how to automatically fill those markers with footage from your media browser using the "automate to sequence" function.
• How to admit that it’s okay to use the help menu
• How to quickly apply color correction within Premiere without exporting to After Effects or a third party application, with an overview of the different controls.
• How to import and edit your looks from RED CINE X into your Premiere timeline when you are working with RMD files, and how to bring those changes back into RED CINE X.
• How to use clip handles and apply and modify transitions between clips.
• How to send clips over to after effects from your Premiere project using Adobe’s Dynamic Link function, which updates all changes you make in both programs in real time.
• A demonstration of the After Effects Warp Stabilizer and its different stabilization methods. Also a demonstration of the Vibrance plugin, and how you can work with such plugins while others are analyzing.
• Demonstration of the Magic Bullet Colorista within After Effects (or Premiere).
• How to output/export your Premiere project using Adobe Media Encoder, which is 64-bit.
• How to create a "watch folder" that automatically encodes your footage to a preset codec.

Using Raw Photos in a Time-lapse from Richard Harrington on Vimeo.

In this Triple Exposure tutorial, Rich Harrington shows you how to use raw files in a time-lapse movie. Learn how to access Adobe Camera Raw from right within Adobe After Effects.

For more on time-lapse, be sure to check out Triple Exposure at www.3exposure.com.

In this video you’ll learn how to create a Photoshop file from within Adobe Premiere Pro. You’ll also learn how to use the Camera Raw module to develop a photo from a DSLR. We’ll even explore advanced options like the Lens Correction filter, Content-aware Fill, and the Content-aware Scale command to selectively resize a photo.

For more videos and a complete training experience, check out An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

Learn how to exchange data from Apple Final Cut Pro to Adobe Premiere Pro in this movie. This movie is by Robbie Carman, my co-author.

For more videos and a complete training experience, check out An Editor's Guide to Adobe Premiere Pro from Peachpit Press — http://www.peachpit.com/premiereguide.

Just a quick reminder to SAVE THE DATE: October 11 - 13, 2011. The New York Post Production Conference in New York City. The show features dozens of expert training sessions for video, TV, film and new media professionals.

3 full days of expert training in multiple tracks
Sessions taught by industry experts
Certification prep class & exams for Final Cut Pro & Avid Media Composer 5.5.
Browse the Show floor with hundreds of exhibitors at the Content & Communications World Expo

See the full schedule here.

For more information visit the NYPPC website.

REGISTER NOW by early bird date to save!

When planning a multi-camera video shoot, several factors can impact the quality of the final production. Choosing the right equipment (along with the crew to run it) will have the greatest influence on the quality of the final production. Here are some details to look for when selecting cameras:

• Matched codec/format. Ideally, all your footage will have the same codec (compressor/decompressor). If you've mixed formats (like DVCPRO HD and AVCHD), you may need to convert the footage to match for some edit systems. You'll also want to be able to match frame rates so footage stays in sync.
  • Lens length. With multi-camera events you'll often be shooting from a distance. Many cameras have fixed lenses that aren't good for long-distance shooting. Be sure to consider distance from subject when choosing a camera.
  • Number of audio inputs. Generally speaking, cameras will have 2–4 inputs. Depending on your number of audio sources, more discrete audio channels can really come in handy. If not, look to use an external audio recorder.
  • Chip size. Many multi-camera shoots are for concerts or performance events. These events often have low light, which means cameras with single chips, or even 1/3"1/3-inch chips, can get grainy.
  • Tapeless acquisition. Choosing to record direct to disk or cards makes it easier to record for long periods without interruption. Make sure you have enough recording capacity to avoid having to stopping for a "tape change."
  • Timecode method. Be sure to examine your options, which will may include time of day or synced timecode. These professional options make syncing cameras easier.

Tip: Power in Demand

PluralEyes and Final Cut Pro X Questions and answers

• Adobe Premiere Pro
• Adobe After Effects
• Adobe Photoshop Extended
• Adobe Media Encoder
• Adobe Encore (DVD, Blu-ray, Flash)
• Adobe Illustrator
• Adobe Flash and Flash Catalyst
• Adobe Story and CS Review

• Razor – Press Cmd+K (Ctrl+K) to split a clip at the playhead.
• Razor All Tracks – Press Shift+Cmd+K (Shift+Ctrl+K) to split all tracks at the playhead.
• Clear – Press the Forward Delete key to remove a selected segment and leave a hole behind.
• Ripple Delete – Press Shift + Forward Delete to remove a selected segment and close the gap in the sequence.

Apple just posted an FAQ document that addresses the top questions. This is a certainly step in the right direction (open communication always is). I respectively submit my commentary and additional questions to respect additional clarification.

Gary Adcock contributed to this article and added clarification.

Readers, please add to this list in the comments section.

Import

Can I import projects from Final Cut Pro 7 into Final Cut Pro X?

“Final Cut Pro X includes an all-new project architecture structured around a trackless timeline and connected clips. In addition, Final Cut Pro X features new and redesigned audio effects, video effects, and color grading tools. Because of these changes, there is no way to “translate” or bring in old projects without changing or losing data. But if you’re already working with Final Cut Pro 7, you can continue to do so after installing Final Cut Pro X, and Final Cut Pro 7 will work with Mac OS X Lion. You can also import your media files from previous versions into Final Cut Pro X.”

• If we are willing to lose some data, what could be imported?
• Can we import the bin structure of a project to use existing organization?
• You say that there is no way to translate or bring in old projects. Can we definitely take this that there will be no way now or ever?

Gary thinks that the question becomes how much can be brought in and how much of the previous structure is not translatable to the new app. Gary thinks that it should be possible to import the media files into a FCP X event. Folders and subfolders could carry over the existing naming conventions and folder nesting as Smart Collections and use the folder structure to achieve hierarchy via keywording.

Can I import my video directly into Final Cut Pro X as I could in Final Cut Pro 7?

• We also use decks to ingest media too, what about them?
• Any plans for device control for decks and standard protocols?

• How about third party capture cards?
• What about Firewire based capture devices like the AJA IO HD?

• Which manufacturers are you working with?

• What if we don’t want to transcode to ProRes (defeats the purpose of Raw workflow for many)?
• What about Arri Alexa?
• How about camera raw formats for time-lapse?
• Any plans to recognize the advanced metadata created by high end cameras? Many use FCP7 XML side car files, how do we access this data?

Editing

Can I edit my tape-based workflow with Final Cut Pro X?

• Are you saying that anything to do with tape, outside DV and HDV, is up to third-parties?
• What about other decks (such as those from Panasonic) that can use FireWire to pass DVCPRO and DVCPRO HD data?
• What APIs have you opened up? In other words what features are possible if third-parties choose to use them?

Does Final Cut Pro X support multicam editing?

• By next major release, do you mean version 2?
• Historically there has been approximately two years between major versions, can you comment on a timeline more specifically?
• By simple multicam workflows , do you mean two angles?

Does Final Cut Pro X support external monitors?

• Will we be able to mirror that second window to two places?
• What color space is that second monitor going to function in?
• How can we view a true video signal on that external monitor?
• Any plans to support a second computer monitor and an external video monitor at the same time?
• Will devices like the AJA IO Express and IO HD as well as Matrox MXO line work for laptop users and those with limited card slots?

Can I save different versions of my project?

• Will I be able to choose a Restore command to go back to a specific point in time?
• Can I set a control for how often FCPX saves? Currently it appears that the app is literally saving every keystroke and movement.
• Can I view separate states of an autosave so I can choose to compare two versions of a project based upon their time stamp?

Are keyboard shortcuts in Final Cut Pro X different from those in Final Cut Pro 7?

• Is there a way to save my settings to move to another machine?
• How can a user backup their settings?

Can I use my third-party plug-ins in Final Cut Pro X?

• In the future, will you release the plugin specifications before the day of software release to give developers adequate time to develop? It is very inconvenient to keep having your tools break because of secrecy.
• Is there a way to create a bundle installer as well as to protect the work if you develop effects or templates using Motion?
• Will Apple offer a market place (or open the App store) to help distribute these effects?

Media Management

Can I specify a scratch disk location?

• Many prefer to keep projects on one drive and renders and media on another drive, is this workflow possible?

Can I share projects with other editors?

• Will we gain the ability to trim unused media using handles? This allows a project to be consolidated to a smaller package.

Can I store media in locations other than my system drive?

• Can we gain some easy setup options that make this simpler? I find that I need to take 11 steps in order to prevent transcoding. I must uncheck options for both import and automatic rendering?
• When will we see support for many popular networked drives formats that are not HFS+? Many are also reporting issues with gigabit ethernet, please address?

Can I hide Events that I am not working on?

• Are you open to other options?
• How about the traditional concept of a project file?
• What about the approach of Apple Aperture which uses multiple libraries that can be easily switched between on import?

Export

Can Final Cut Pro X export XML?

• Are you saying that it will be the same type of XML that is supported currently by numerous manufacturers industry-wide? Or is this a new version?
• In order for export to be useable, XML exports would have to be able to conform to the industry standards for inter-device communications
• Will this ability cost us extra money like the OMF export option or will it be built-in?

Does Final Cut Pro X support OMF, AAF, and EDLs?

• You say when the API’s are available... is that dependent on Apple or another company to make these available?
• Are these features waiting on the hardware API set as defined for Lion?
• What is the priority of these features? Is it this version or the “next major release”?

Can I send my project to a sound editing application such as Pro Tools?

• Any plans for native support?

Does Final Cut Pro X allow you to assign audio tracks for export?

• Will this be a bundled feature or one that requires a third-party plugin?
• Can we actually view and organize tracks in the timeline?
• What about clips that are reused in different ways?
• Will this still require a plug-in like the one made by Automatic Duck to fully function?

Can I customize my export settings?

• What about using the media manager to go to other codecs from companies like Cineform and Avid?
• What about choice on import for more than two codecs?

PurchaseCan I purchase a volume license?

• What about 5 users licenses? 10 user?
• How does a company purchase more than one license without using multiple credit cards or iTunes accounts?
• How many machines can a single copy be installed on?
• How many users can use it at once?

Playback Settings

1. Choose Final Cut Pro > Preferences.
2. Click the Playback button.
3. Uncheck the Background render box.
4. Check use original or optimized media.
5. Set Playback Quality to Better Performance.

Importing Settings

1. Click the Import button.
2. Uncheck Create optimized media.
3. Uncheck Create proxy media.
4. Uncheck Copy files to Final Cut Events folder.
5. Close the preferences panel.

It appears that Apple listened on one point (which is great). The software updates have been restored to Apple's website. Previously, many just pointed to the Mac App store to buy Final Cut Pro X. You were able to run the update through Software Updater, but it was difficult to access the files for backup.

1. Go here http://support.apple.com/downloads/#final%20cut%20studio.
2. Download the ones you need.
3. Burn them to disc and put them with your Final Cut Studio install discs.

• David Pogue is a fine gentleman who I have met several times.  He is smart, he is generous in his knowledge, and he is fair. He is not a shill and his article was trying to be helpful (I commend him for getting Apple to answer questions).
• He is not a video editor. Nor does he try to pass himself off as one.
• I am sorry this response is SO long. It's technical and it's important I be clear and detailed (I've already been criticized and accused of being an Apple hater or colluding against them).

• I have been a certified instructor for three of the A’s that make video editing software.
• I have produced Final Cut Pro tutorials which have been given away for free for years as podcasts through iTunes.
• I have written several books on Final Cut Pro (as well as other products). 
• I do use other company’s tools (always have).
• My opinions here are based on owning a 10-person video production company which has built its infrastructure around Final Cut Pro for 10 years.
• I am not even going to touch on the challenges of completely retraining my staff and myself on something that is so radically different.  You thought people whined when Microsoft added the Ribbon to Office...go look at what editors are saying in the App Store reviews.  Remember only people who actually BOUGHT the application are allowed to rate it.

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“Complaint: There’s no multicamera editing. In the old FCP, you could import the footage from various cameras that covered an event (say, a concert) from different angles simultaneously, and then easily cut back and forth between them while editing. It was a star feature of Final Cut, and it’s gone from FCP X.”
“Answer: Apple intends to restore this feature in an update, calling it “a top priority.” Until it does, here’s a stopgap facsimile of multicam editing: If you drag two clips into parallel timeline tracks, you can choose Clip->Synchronize Clips. By comparing their audio tracks, the program aligns the clips exactly. Now, each time you select a piece of the upper video track and press the V key (“disable”), you are effectively cutting to what’s on the lower video track.”
My Take: Final Cut Pro could previously edit up to 128 angles.  While that is a tad excessive for most, using three to nine angles is very practical.  We regularly cut programs such as talk shows, concerts, and events using this feature.  The method described by Pogue is like telling a NASCAR driver to turn over their car, strap one roller skate on, and push as fast as possible with the other foot.
*Updated 6/24 8:27 AM – In order to edit a lot of angles, you used to have to use several hard drives and they had to be really fast. We'd also off the option of using a a flavor of the Offline RT codec, then easily relinking. It was complex (at times), but powerful.

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Complaint: You can’t share a project with other editors. In professional editing companies, editors routinely exchange projects. But in FCP X, “all of your project organization is now globally contained in the application rather than in your project file. You literally have to give that other editor your entire computer,” writes one blogger.
Answer: Not true. You can share your project, your files, or both. If the other editors already have the raw video files, you can hand over the project file. The other editors can inspect the Project Library; on its Info panel, they can click “Modify Event References” to reconnect the project to their own copies of the media files.
If the other editors don’t have the raw files, the various commands in the File menu let you move the project file, the media files, or both to another computer on the network, to another hard drive or whatever.
My Take: I am glad that some of my initial fears are wrong.  However this command is much less robust than the previous Final Cut Pro media manager.  It seems to lack the ability to force a file to reconnect or to invoke a search if the file says it can’t be found.  The Media Manager seems to also lack ability to trim media with specific handles to make the media smaller.  
Gary Adcock (my genius technical editor) Offers this useful summary

• Duplicate Project — Functions much like the FCP7 media manager did. You can choose the Project only, Project & all References or Project with just used media.
  • Move Project — Will move all media and Associated to new volume. This can be used for uploading a field edit to a desktop system. It too can move just project or project and media
  • Merge Events — This can combine two copies of the same project into a single Project file. This can be used to bring last night's changes you did on the train into your desktop at the office.
  • Consolidate media — The is the clean your desk command.
  • Organize Project – This will consolidate media for the scratch disk only.

• That 8-bit material and DSLR videos files are rendered to ProRes 422.
• Animation and Uncompressed codecs are converted to Pro Res HQ if 1920 x 1080 or less
• Animation and Uncompressed codecs are converted to Pro Res 4444 if 2K or larger
• Turn off the Optimize media check box to cut your re-rendering in half
  

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Complaint: You can’t freely organize your media files. “There is no way to customize the organization of the project media,” gripes one blogger.
Answer: You can customize the organization freely if you’re willing to understand the new keyword tagging system. Dragging a clip into a folder essentially applies a new keyword to it.
My Take: I am glad we have these options.    But there are fewer ways to customize the view.  You can’t seem to add custom columns.  There are collections, but not the simple ability to use folders and nests of folders to organizer.  Imagine if you had no folder structure on your Mac hard drive.  Just Spotlight.  You could only organize by tagging keywords onto all your stuff. 
You also can’t organize media while any background tasks are running. Such as rendering, transcoding, stabilizing, etc. Background tasks are frequently happening as things automatically render.  Change a color effect, it renders.  Adjust the size it renders.  In the past you would choose when to render.  Now you have to keep opening the Background Tasks panel and canceling. 
*Updated – 6/24 8:30 AM – You can make folders in events with a right click on the event in the Event Library. It is very different in appearance than FCP 7, but does seem to work better than I thought. I stand by my lack of creating custom columns as well as the challenges of constantly looking from the far left edge of my screen to the right to see the Events Library and Inspector panels. Wish I could move panels next to each other.
*Updated – 6/25 5:57 PM – Turns out you can also drag keywords into folders (and be sure to learn how to use collections too).
Gary says "I found the keywording for organization is like having Google searching my project, it’s faster and you can sort the materials based on any variety of keywords or even strings of words."
My Take: I agree this is awesome... but I'd also like the ability to use the thousands of projects I've organized already. I'd also like to not let one client see another client's media. The current media browsing seems to be based on the idea that you only have a couple of projects. I may grow to like events... but right now I don't.
Events didn't make it into Aperture (from iPhoto). Projects did. By the way I can have many libraries in Aperture making it easier to isolate client's work from one another (as well as personal projects from work). Maybe FCPX and iMovie could grow a little more distant (as well as over useful documentation like this – http://www.apple.com/aperture/iphoto-to-aperture/how.html that address how to move projects and libraries in).

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Complaint: No Reconnect command when media is offline. When media is offline, you get a red screen with an exclamation point. There is no Reconnect Media command, as there used to be.
Answer: True. Then again, the old Reconnect dialog box got people into a lot of trouble; they often reconnected a project to the wrong files, or the wrong versions of files.
FCP X assigns a unique behind-the-scenes identifier to every single video clip. When you reconnect the missing hard drive, your project reconnects to its original files automatically, even if you have moved them around or renamed the hard drive. You can’t reconnect to the wrong thing.
My Take: I am glad that some of my initial fears are wrong.  However this command is much less robust than the previous Final Cut Pro media manager.  It seems to lack the ability to force a file to reconnect to a new version (such as an updated graphic file) or to invoke a search if the file says it can’t be found. Finding the information is a little tricky and involves opening a panel. It also appears that you also can’t invoke the re-connect command unless the media is offline.
While the command COULD get you into trouble if you made bad choices.  It also gave you important controls that professionals really needed.
*Updated – 6/25 6:10 PM – Gary pointed out to me that this seems to be a huge change. Previously Final Cut Pro just remembered the file pathways. Now it is actually polling and tracking media via a database. (based on SQL actually). Updated files are automatically included as part of the metadata management. This also means that when you add a new volume to your system, X will poll it, looking for FCP event or content flags in the media. (He is still trying to find out what this file is called and where it is hiding on the drive).
My take: Again this sounds better, but we need to ability to force a re-connect. We also need to be able to backup that database for safety.

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Complaint: You can’t assign audio tracks. “We send all our audio files out for ProTools mixing,” writes one editor in an e-mail. “We always put narration on Track 1 and 2, interviews on Tracks 3 – 6, and so on. So our audio engineers know exactly what’s on which track. But FCP X’s ‘trackless’ design makes that impossible.”
Answer: For now, you can use a utility called Automatic Duck Pro Export 5.0 ($200 to upgrade) to create and manage these tracks automatically when you export to ProTools. Apple says  it will restore this feature to FCP X.
My Take: That’s $200 to upgrade from a full version of Automatic Duck (not a $200 upgrade to FCP).  It’s $500 new.  Gone is also the version to map specific output when going to professional tape formats (a frequent requirement for professional delivery). In fact if its not HDV or DV, tape support seems to be gone all together.
But it's not just ProTools output.  Several of the exchange methods are gone. XML is the biggest deal which would allow this tool to continue to communicate with the now discontinued Apple Color, Davinci Resolve, Adobe After Effects, and many other tools that people use for special purposes and collaboration.
*Updated – 6/25 6:16 PM – Gary says that the XML should work in Lion. Also that the necessary hooks are in FCPX already. He says he can also find output libraries for DPX and Open EXR that are already visible. He also feels that there should be some changes in how hardware can be accessed with Lion.

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Complaint: No custom frame rates or custom frame sizes. Editors are complaining that you can’t specify unusual frames-per-second rates or frame dimensions.
Answer: Not true. When you create a new project, you can specify any frame rate or size you want, right in the Import dialog box. You can also change the frame rate or size when you export the finished product — if you’re willing to spend $50 on Compressor.
My Take: Sorry ... you are 95% wrong.  If you choose custom in Final Cut Pro 7, you have the option to enter just about any size or rate. When I choose custom in FCPX... I can choose from several standard options.  But I can’t enter any value. If you choose Other, your choices are:

• 640 x 480 or 960 x 540
• 23.98, 24, 25, 29.97, or 30

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Complaint: No support for RED digital cameras. The RED camera is a favorite of filmmakers; it records incredibly high-resolution video directly to a hard drive. But FCP X can’t import its files.
Answer: Apple is working with RED to create a plug-in that will give native RED support to FCP X. In the meantime, you can set your RED camera to shoot and capture video in the QuickTime format, which FCP X imports just fine. Or you can use RED’s free conversion program, which converts its own files into the Apple ProRes format, which FCP X loves because it’s so much faster and easier to edit than the native RED files.
My Take: David, you don’t understand why people choose to shoot RED.  The benefit of shooting raw video is the same benefit as pro photographers choosing raw stills over JPEG.  Shooting or converting to QuickTime throws away A LOT of information and latitude in adjustments.
What pros wanted was the same level of control they get in Adobe Premiere Pro or Red Cine X.  The ability to truly grade color, work with high dynamic range features and more. They also need greater controls on media management and reconnection.  The reason why pros are so furious is that Apple and RED had the closest working relationship in the industry.  People don’t understand why the program would ship without support.
*Updated – 6/24 8:40 AM – It's not just RED... it's other Raw formats too (like Alexa). A few pointed out that we have 4K sequence presets, but no easy workflow for getting in 4K footage.

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Complaint: No ability to pause or fork the Autosave. Final Cut Pro autosaves your work as you go. Editors complain, therefore, that they can’t save different versions of a project as they go along.
Answer: You can duplicate your project at any time, thus freezing it in its current condition. Just click it in the Project Library and choose File -> Duplicate Project.
My Take: David... have you ever been affected when an application like Microsoft Word crashed?  Sure you could open up the last version you CHOSE to save ... but sometimes the Auto-Save comes to the rescue and you get back work you would have lost.
You could choose when and how often FCP auto-saved.  It also stored multiple versions automatically.  This let you go back in time when clients changed their mind.  It also could save you if a project became corrupt.  While these don’t happen every day ... they happen more than we like. The new method requires you to choose to backup, not set an interval.  Isn’t this why Apple invented Time Machine in the first place (which does let you choose how often to backup). I don’t know how Time Machine and FCP project files will work ... but I am less than confident that I will have the same level of control I do now.
*Updated – 6/24 8:33 AM – Several point out Lion's autosave abilities. I can't comment further as I don't have it running since it's not shipping. What about those who can't go to Lion, however?
*Updated – 6/25 6:23 PM – Also, what's big is the ability to run the Restore command which let you choose which backup to use.

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Complaint: Can’t specify the scratch disks. In previous versions of Final Cut Pro, you could choose individual hard drives for storing your project’s render (preview) files. But if you didn’t know what you were doing, things could get messy. For example, you might store the project on one drive, and then render files on another; then, later, you would open up the project when the render-file disk wasn’t available. You would have to re-render the whole project.
Answer: In FCP X, the render files are stored on the same disk as the project, so they don’t get separated. You can still store your files on any drive; you determine that by where you store the project file.
My Take: Duplicate the project also starts to spread files out to more folders.  Those renders, pre-computes, and cache files are with the project.  You choose to duplicate, there’s more to copy.  That means time and disk space.  In the past, these render files were in a folder of your choosing.  Duplicating the project was no big deal as the project just looked at the files in the same folder that you specified.  Less time, less disk space (which in my world means saved money, happier clients, and a greater chance of dinner with the family).
Also this level of control is less than before.  I could choose to but my project files in one place and renders on another.  Like I said before ... most people choose to split their project files to a different location than render files and media files.  This is because the project file is usually small, and you want to back it up (or even keep it on a USB thumb drive for easy portability).  The media and render files on the other hand need to be on a performance hard drive.
*Updated – 6/25 6:27 PM – A new issue:
A trusted colleague (who asked not to be named) raised a huge potential issue. Personally, I have not been able to fully test this, but this person would know.

• It appears that the new FCPX doesn't work with Apple's (previous) XSAN system
• You can only save to an HFS+ drive.
• This also means no go for most networked storage systems as Events appear to be incompatible with a XSAN, AFP, NFS or SMB volume

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Complaint: Can’t output to tape. Videotape is on the way out  — you would be hard pressed even to find a camcorder that takes tape anymore — so it’s not built into FCP X. This is one of several ways that FCP X is clearly a program designed more for the future than the past.
Answer: You can buy tape-deck control programs like AJA VTR Exchange and Black Magic Media Express. AJA and Black Magic are two major makers of add-on circuit boards for professional video editing. These apps work with their boards.
My Take: Tape is NOT dead (although we’d like it to be in many cases).  Tapes don’t demagnetize though like hard drives on a shelf.  They also outlast hard drives in most cases.
TV stations want tape.  My government clients want tape.  My nonprofit association clients want tape. Tape is typically required by the vast majority of clients that professionals serve (those that make their living editing video).  
David... Print is dead.  It’s on it’s way out.  Could the New York Times stop printing newspapers tomorrow?  You may want to (environmental concerns, costs of paper and delivery, those annoying children who throw newspaper and yell that they want their $2 back)?  Print is not dead ... neither is tape.  Are they dying? Yes... a SLOW and PAINFUL death.
When Apple killed the floppy disk, you could still buy them yourself and hook them up.  Even though Apple doesn’t let you burn a Blu-ray disc, they let you buy a burner yourself.  The built in the “hooks” that let hardware and software manufacturers connect.
In the past, companies like AJA and Apple collaborated closely.  When Apple would ship software, new hardware would be out. In fact, old hardware would have updates that made it work too.  These devices often cost $1,000–$5,000 dollars. We have five of these devices in my offices.  They are currently serving as paper weights when we launch Final Cut Pro X.
So you say just use the old version.  But how long will Apple ship updates and support the old software.  What happens when your computer fails and you have to buy a new one.  Will you be able to install 5 year old software on it? 
Never mind the fact that pro customers feel they deserve to get to use a 64-bit editing application.  Why? Because other companies have 64-bit applications on the Mac that edit video quite well AND support the same hardware that Final Cut Pro 7 supported.

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Complaint: Can’t export AAF or OMF files. These formats are successors to EDL. They let you export your project to other programs, like Avid, Quantel or Pro Tools, for more sophisticated editing.
Answer: Automatic Duck ProExport 5.0 adds AAF and OMF exporting to FCP X. There will be other companies offering similar export plugins (including EDL, by the way), once Apple publishes its XML programming guidelines (API).
My Take: Why are pros mad? Because all of these formats (as well as EDL and XML were supported). David, how would you feel if you couldn’t get your photos out of iPhoto?  You could sync them to your iPad ... you could look at them on your Mac.  But printing? Opening the image in Photoshop? Handing it off to a website authoring or page layout tool?  Nope.
These exchange formats allow professionals to collaborate.  Would you like special effects, great color correction, and a superior soundtrack in your next Hollywood film? Not gonna get it (or at least not yet).  We’re told we have to wait for third-party folks.  Who all have to rewrite their tools to standards that aren’t even fully clear or released.
*Updated – 6/25 6:28 PM While we're talking about XML export, how about the ability to send to Apple Color?
Commenters on this blog even point out the difficulty in sending clips to Apple Motion (a previously supported workflow).
I also have heard from many plug-in developers crying foul.   A couple people seem to have had early access and knowledge.  Apple lists two plug-in packages on their site.  What about the 100+ companies that had tools working before?  We now must wait ... and hope these companies can afford to redevelop and redeploy.  We’ll also have to repay for tools that worked just fine because these (often small) companies will have to scramble to redevelop their tools to keep their customers.
*Updated – 6/25 6:29 PM I've been told that some plugins work by "luck" since they were designed with the previous version of Motion in mind. I do not know the validity of this statement. I do know that I have talked and read about many developers who are crying foul.
Speaking of secrecy...  there’s a lot of confusion throughout the reseller community that helped ensure local sales and support for Apple products. The training companies seem to be confused and their trainers are too. I am not allowed to say more here.

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Complaint: Can’t connect an external monitor. Pros work with Final Cut on the Mac screen, but they prefer to view the actual edited video on a dedicated second screen. While Final Cut Pro X works just fine with a second computer monitor — you just choose Window -> Show Events on Second Display (or Window -> Show Viewer on Second Display) — there are complaints that it can’t connect to an external video monitor (TV), which pros feel offers better color fidelity.
Answer: Just as before, you need a Mac Pro with a video-output card in order to connect a TV monitor. Apple expects that the output-card companies will soon offer the necessary drivers for FCP X; AJA, one of the major makers of these boards, already offers beta versions of such drivers. Apple is working with Black Magic to offer drivers for its boards.
My Take: You have several mistakes here ... but I would make the same mistakes if I tried to talk about the professional printing presses your company uses to make newspapers.

• You do not need a Mac Pro.  Several manufacturers made devices that use FireWire connections.  They also use the Express Card slot (which seems to be on the way out).  We suspect that Thunderbolt will help here too (Blackmagic showed this at NAB this year).
• It’s not a TV.  We use higher quality monitors.  Often with unusual connections like HD-SDI or professional component connections. We also run the signal out the hardware tools that help us calibrate and legalize the color for broadcast (just like how you have to fix out of gamut images for color printing). The method Apple has now does not let us see a true video signal.  It also doesn’t work if you have two computer monitors and a video output card attached.  It’s one or the other (at least according to the AJA documentation).  Be sure you READ that documentation ... it’s filled with apologies. The signal Final Cut Pro X sends out is not in the correct color space or proper size. David, I’d like you to switch the New York times to consumer inkjet printers...  tell me if that would work for you?
• What about the others? There are more companies besides AJA and Blackmagic Design. What’s happening there? The lack of information is what scares professionals.  People want a road map ... especially in this economy.  I know companies need some secrecy.  The keyword is some.

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Complaint: Can’t import old FCP files.
Answer: As I noted in my column, this is true; your old projects are stranded forever in the older FCP program. You’ll have to keep both programs on your hard drive, and edit the old projects in the old program. When you install the new FCP, your old copy is safely preserved.
My Take: This is partially true. Many users have reported problems with having both on the same system.  Apple even has a very detailed and useful article on the topic (http://support.apple.com/kb/HT4722). 
This document provides critical information.  It’s not called out in the App Store.  It’s not called out in the installer.  Apple could have released it two days before Final Cut Pro X and said “Get ready for Final Cut Pro X.”
Nope... no communication or warnings on how to avoid potentially large problems. In fact I found out about the new software from Twitter.  It didn’t even make it to the Apple home page.  The article I mentioned isn’t on the product page or even the support page in a prominent position.
The application is also not “safely” preserved as you have to move things back and rename things if you want to actually use the applications in many workflows.  Apple says “Note: Final Cut Server, Podcast Producer, Software Updates for Final Cut Studio (2009), and some third-party workflows and tools may require that the Final Cut Studio (2009) applications remain in their original location in the Applications folder.”
Also, would you accept that you couldn’t open up your iPhoto library with future versions of the application?  How about if all the music you imported into iTunes would no longer play and all your organization and playlists were gone. Oh, and what if Adobe decided that Photoshop CS5 (the 64-bit version) couldn’t open up files from the past.
The argument of "finish your project before you upgrade" is crazy. Clients always come back with changes. Filmmakers decided to make updates and re-release. Even hobbyists want to go back and look at something they did and potentially reuse some of their editing. Even if both applications are properly installed, you can’t have them open at the same time. Want to look over a FCP 7 project, you can't launch both apps as it will prompt you to close FCP X.
*Updated – 6/25 6:39 PM – Visit https://discussions.apple.com/message/15469892#15469892. Scroll halfway down the page to this post.
FranklyFilm — Re: FCPX, just the tip of the iceberg — Jun 23, 2011 6:35 AM
Mail form Randy Ubillos, the designer of FCP X
“FCP7 projects do not have enough information in them to properly translate to FCPX (in FCP7 all of the clip connections live in the editor's head, not in the timeline). We never expected anyone to switch editing software in the middle of a project, so project migration was not a priority.
Final Cut Pro X 1.0 is the beginning of a road, not the end.”
My Take: I do not know if this is true. It is on Apple's website. I would assume given how widespread it is being pushed around the net... someone would respond or clarify. I hope this is not true, but I have now heard this same information from different sources more than 10 times. This rumor or statement needs confirmation. This is the DEAL BREAKER for many.

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The Bottom Line: Apple has followed the typical Apple sequence: (1) throw out something that’s popular and comfortable but increasingly ancient, (2) replace it with something that’s slick and modern and forward-looking and incomplete, (3) spend another year finishing it up, restoring missing pieces.
These are fair statements. Remember your feelings on iMovie ’08 (http://pogue.blogs.nytimes.com/2007/08/17/apple-takes-a-step-back-with-imovie-08/)?  Apple reversed course and continued to make the previous version of  iMovie available.
With Final Cut Pro X, Apple discontinued to entire Final Cut ecosystem in one swoop.  Final Cut Server, Color, Soundtrack Pro, Cinema Tools, and DVD Studio Pro.  "So what" you say ... just use the old one.

• But you can’t buy the old one from Apple any more.  In fact I have been told that many resellers were asked to ship their stock back to Apple. 
• Many were waiting to upgrade from older versions until Final Cut Pro X shipped. Now they find out their computers won’t work with the new Final Cut Pro.Several computers aren’t supported due to their graphics cards.  Even machines that are slated to work on Lion may not work with Final Cut Pro X because they lack Open CL compatibility.  Here is the list (http://support.apple.com/kb/HT4664).
• The exact same time the new product started shipping, the old one went away. Yes, some stores still have inventory, but not Apple (apparently). The existing stock will run out and people don’t know if will be refreshed.
• There was not sufficient details warning people about compatibility issues.
• If you go to Apple’s webpage and try to look up old documentation or links about the old Final Cut Pro, it redirects you to the new page.  If you visit the support page and try to download an update to a previous version (often needed after changing machines or doing a software restore). Guess what, its sends you to the App Store to buy Final Cut Pro X. I tried several of the links on the support page (http://support.apple.com/downloads/#final%20cut%20studio).  Go see what happens

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Professional editors should (1) learn to tell what’s really missing from what’s just been moved around, 
I agree, but the training and support industry is scrambling to catch up.
(2) recognize that there’s no obligation to switch from the old program yet
That is correct.  But pros were told it would be “awesome.”  I guess that word means different things to different people.  And if you need to update your old software, most of the links on the downloads page keep sending me to the App Store to buy the new one.  Subtle, I know.
(3) monitor the progress of FCP X and its ecosystem, and especially (4) be willing to consider that a radical new design may be unfamiliar, but may, in the long term, actually be better.
Most in the Final Cut Pro community like change.  They also wish that the investment in time as well as thousands in equipment would continue to be supported.
David, your article was helpful and answered many questions for me.  I know you can reach me on the phone.  I raise a few more questions that maybe your Apple contacts can answer.
Will I ever be able to import a layered Photoshop file? This is a common workflow that lets editors easily work with graphics.
*Updated – 6/24 8:41 AM – You can import the file (I knew this) but layers are flattened. Motion supports this workflow, but Final Cut Pro X no longer does. This was a common scenario.
What about volume licenses?  How do companies buy multiple copies for the employees to use?  Do they really need to set up an iTunes account for each and need to use elaborate combinations of credit cards or gift cards?
What about educational licenses? Apple gained much of its success from students who learned it in school then moved into the workplace.  Students always got a discount as did schools.  What about them?
What is the intention with the apparent decimation of the previous ecosystem? Are the broken links and missing documents temporary?  Will we be able to buy the application in 2 months (or next year)?  Will there be software updates ... if so for how long?
Will there be physical distribution?  Broadband access is not a reality for much of the world.  I have interfaced with editors in Africa where broadband is scarce.  I have also talked with several who pay by the megabyte for data (and pay a lot).  There are many places in the world where the user will pay far more to download the software than to purchase it. What if I need to reactivate (such as after restoring from a backup) but I can’t get Internet access?
In conclusion, I appreciate your article.  You attempted to get to the bottom of things.  I hope I have opened some new doors here for you to knock on.  Keep making the world a better place for techno geeks.
There are SEVERAL posts in the comments about missing and confusing features. Since I have violated every rule about length of a blog post, I will respond below. Apple (or others looking to develop new products) please see the list below. There are also several other places that have good lists going.
Thank you to all my friends for your support and keeping things civil during these difficult times. Remember to keep the focus on Apple (and not attack others in online forums or blogs). Keep posting and pass this article around to those who tell you that you are wrong. Be civil, reversing a "revolution" won't happen with angry words. The initial shock is over... move past anger. Make your opinion known with respectful words. Apple corporate is the one who made these decisions... address the cause of the problem.

And to leave you with a laugh... the issue made it all the way to the Conan O'Brien show. Most have seen this, if not, go laugh. We all need one right now.
http://teamcoco.com/video/conan-editors-love-final-cut

I just want to point you to a great article over at Creative COW that addresses a timely topic.

"Forget all the rumors and speculation about Final Cut Pro X, Creative Cow Contributing Editor David Roth Weiss delivers nothing but facts as he guides you through the steps necessary to partition your Mac system drive with a cool multi-boot setup that will allow you to easily and efficiently switch back and forth between different versions of Final Cut Pro, between different operating systems, or all of the above."

Be sure to head over for the whole article. A must read.

Join Jim Guerard, vice president and general manager of Professional Video, as he discusses the massive shifts happening in the industry today, how Adobe is responding through rapid innovation, and the company's pillars of focus moving forward.

It's always great when the companies that make the tools that I use are actually open. Here's where Adobe is going. Listen close to some of the points (it's a tad dry... but trust me... LISTEN to what's being said).

1. Select the layer or layers you want to blend.
2. If using Photoshop, choose the Move tool (In After Effects, you can skip this step).
3. Press Shift + = (Shift plus Equal) to scroll through the list.
4. To move backward, press Shift + – (Shift plus Minus) to return to a passed blending mode.

I always like creative music videos. This one is very simple in some ways, yet elegant. It's a single take Steadicam shot. Then toss in some really interesting lighting cues. Cool video concept.

• NTSC DV 720 X 480 (with guides) for a standard 4:3 menu commonly used in North America or Japan.
• NTSC DV Widescreen, 720 X 480 (with guides) for a 16:9 menu
• PAL D1/DV, 720 X 576 (with guides) for a 4:3 menu used in Europe and other parts of the globe.
• PAL D1/DV Widescreen, 720 X 576 (with guides) for a 16:9 menu used in Europe and other parts of the globe.

• Action Safe – The outside box. All elements meant to be seen should fall inside of the inner 90% of the menu. Still design the background edge-to-edge.
• Title Safe – The inside box. All text elements meant to be read should fall inside the inner 80% of the menu.

There are many options to change the speed of clips, including the rate stretch tool, time remapping to achieve a variable speed value, and using After Effects own remapping abilities to fine tune your results.

See it here – http://podcasts.creativecow.net/adobe-premiere-tutorials-podcast/time-repmapping-footage

• A list of all accelerated effects
• A list of all supported graphics cards
• A discussion how mixed media is handled

There's a great article over at Creative COW about the visual effects in the new Thor movie.

Article Focus:
Marvel Entertainment's epic adventure Thor has dominated the box office in the last few weeks, with a worldwide gross of $357.6 million. In this cinematic version of the super hero tale, the powerful but arrogant mighty Thor is exiled from the mystical realm of Asgard to live on earth, in punishment for his reckless actions that have reignited an ancient war. Forced to live among humans, Thor's powers are tested when The Destroyer, a monstrous suit of living armor, is sent to earth. In the process, Thor learns how to be a true hero.

In this article in the Creative COW Library, Luma Pictures takes us inside the building of The Destroyer and the Bifrost arrival to earth, the mystical storm that delivers the gods to the other worlds. Let Creative COW's Debra Kaufman take you to the realms of mythology and VFX possibility.

Head over to check it out – http://magazine.creativecow.net/article/thors-vfx-spin-film-to-box-office-heights

Be sure to check out the Adobe CS5.5 Production Premium Road Show. The event is a free, in-depth seminar in LA, SF, and NYC: http://bit.ly/lcfJnT

Join Creative Suite video experts for a free, in-depth seminar that features the new Adobe® Creative Suite® 5.5 Production Premium, the high-performance leader in video production software. Learn how you can produce your best work with game-changing innovations like the blazing fast Adobe Mercury Playback Engine in Adobe Premiere Pro, the new Warp Stabilizer in After Effects, and a high-performance audio tool, Audition—now included in CS5.5 Production Premium.

Registration now open for these training dates and locations:

• June 2, 2011 - REGISTER NOW Los Angeles, LA Film School, 5:00pm to 9:00pm
• June 14, 2011 - REGISTER NOW San Francisco, Adobe Headquarters, 4:00pm to 9:00pm
• June 21, 2011 - REGISTER NOW New York City, The New Yorker Hotel, 4:00pm to 9:00pm

• Quickly organize their existing Final Cut or Avid projects, or create new projects to use right away in Premiere Pro
• Understand how to use Premiere Pro with other Adobe software
• Edit their footage the way they like but with tips and techniques from authors with tons of experience in all the editing programs and who speak your language.
• Put their skills to work immediately by using the accompanying lesson files to work through the steps in the book

In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington takes a look at how to integrate still photos into your Premiere Pro timeline to acquire the very popular documentary photo effects style with pans and scans.

Be sure to check out the many tutorials at Creative COW.

From the Creative COW DSLR Essentials Podcast, Robbie Carman and Richard Harrington bring you part two in a three-part series on creating time lapse. This episode covers shooting techniques for time-lapse.

3. You can enhance the effect with several useful options for the Stabilization Method:

• Result – You can choose Smooth Motion to retain the general camera movement (albeit stabilized) or No Motion to attempt remove all camera movement.
• Smoothness – This option specifies how much of the original camera movement should be retained for Smooth Motion. Use a higher value for maximum smoothness.
• Method – There are four methods available. The two most powerful are Perspective and Subspace Warp. If either method creates too much distortion you can try switching to Position, Scale and Rotation or just Position.

5. If you see vertical distortion or warping in the shot, enable the Rolling Shutter Ripple option under the Advanced category. In order to use these advanced options you need to use either the Subspace Warp or Perspective method for Stabilization. Be sure to experiment with both methods as the choice may vary based on the source footage.nIf you want maximum stabilization quality you can choose the Detailed Analysis option under the Advanced category. This makes the Analysis phase do extra work to find elements to track. This option is much slower, but produces superior results.

6. Use the RAM preview option to preview the effect as needed.

As a content creator respect the rights of others. I repeatedly see the rights of others abused all the time in video production. Be sure to preserve the rights of others as you’d expect your rights to be upheld.

• Music – This is the greatest area of abuse across the video industry. There are affordable stock music options for purchasing or licensing music. You can also hire a composer or use software tools to create your own music. What you cannot do is used recorded music made by others. Giving credit is not enough. I am sickened by the number of videos I see created using copyrighted music and the number of excuses and loopholes others try to give to justify its use.
• Stock Footage – Make sure the footage you choose to use is properly acquired. There are numerous libraries and sources for licensing footage. Some are buy out libraries, others offer per clip purchases, even still you can find public domain collections. Make sure your footage is properly licensed.
• Client Provided Assets – Just because the client gives you materials doesn’t mean they are free to use. I’ve faced many instances of clients providing copyrighted materials that they did not have rights to use. Their assurances of “it’s okay” or “this is an internal use only video” would hold no bearing to my being held liable for violating the law. Be certain that what you are given to use is materials that are properly cleared.

• Dynamic Link – You can hand off media between Adobe Premiere Pro, Adobe After Effects, Adobe Encore, and Adobe Audition. The media exchanges seamlessly and you can easily switch between the two applications as needed as the to projects become linked.
• Copy & Paste – The easiest way to move media between After Effects and Adobe Premiere Pro is the standard Copy and Paste commands in the Edit menu.
• Export PRPROJ – From After Effects you can choose File > Export Adobe Premiere Pro project to send to Adobe Premiere Pro.
• Capture In Adobe Premiere Pro – Use this command in After Effects to switch to Adobe Premiere Pro and capture media files.
• Import PRPROJ – You can import an entire Adobe Premiere Pro project into After Effects. This brings an individual or all sequences in as media files. All edits are preserved, but After Effects treats the Adobe Premiere Pro sequence as a single media file. Changes in Adobe Premiere Pro will update the corresponding media file in After Effects.
• XML – Using the XML format, Adobe Premiere Pro can both import and export an XML file that links to media assets.
• AAF – You can import the Advanced Authoring Format from Avid editing systems. You can also export using this format to send a project onto an Avid.

I have never met a video that wouldn’t benefit from some editing. The whole purpose of video is to compress time and distill a message to its essence. It is important that you refine a project by continuing to strip away its unneeded parts. Never have I heard an audience complain that a video was too short. There is a reason to edit and it becomes increasingly clear when you actually watch people as they watch your project. Do your best to strip a project down to its essence and only add what is needed.

In this tutorial for the Premiere Pro Video Adrenaline series, Richard Harrington explores how to make a better black and white image with a combination of filters.

• Cash is power – Whoever pays for a production is typically the copyright holder. This can be a client, television studio, or independent producer. The standard in the world of video is work for hire.
• Unused footage – Most funders will expect that all footage you shoot while on assignment is theirs. On the road to an exotic location for a client? Even if you’re just there to shoot a 60 minute interview, they may expect that all the footage you shot will belong to them. Be sure to clearly spell out your expectations and read any agreements before you sign them.
• Request portfolio permission – Be sure you get in writing your rights to show work samples. This may be limited to client selected portions or can be denied all together. It is best to negotiate your rights up front so you can show your work.
• Self-funded productions – Nothing keeps you from pursuing other models of production. There are certainly self-funded and distributed projects as well as the opportunity to shoot and license your own stock footage. The limitations on this front are really based on traditions. Because video production and distribution has been such an expensive undertaking, the power usually lies in the hands of the network or studio model. Be prepared for an uphill battle if you want to change the status quo.

• TV companions: For this group, TV is almost always on and is like a member of the family.
• Media trendsetters: Early adopters of technology and new content, and also 39% multicultural.
• Sports enthusiasts: Made up mostly of men, but most guys aren't classified here. This group also likes action-adventure programming.
• Program passionates: Highly involved with favorite shows, and the biggest DVR time-shifters.
• Surfers and streamers: Most open to watching alternative content on TV and most often using laptops or tablets to multitask while watching TV. They skew young, but include a large component of 50-plus people.
• TV moderators: Those who enjoy being experts and leading others' choices.

When it comes time to edit your video, the hard drives you use are going to have a huge impact on the performance of your system. No matter how much RAM you have or how powerful of a video card, you just won't get real-time performance if your drives are a bottleneck.

Important Factors

• Speed. The speed of drive is the biggest factor on what media you can play off it. Drives like internal laptop drives or bus-powered USB drives are generally not fast enough to edit HD video.
• Capacity. When you start to edit HD video, you'll quickly use up disk space. For example, each minute of video shot on a Canon 5D Mark II is about 320 MB. In order to get the storage you need, you may invest in multiple drives or drives that are striped together for a performance RAID.
• Redundancy. The last thing you'll want to happen to your video footage is to lose it. Most video creators choose to back up their footage to two or more drives or to use additional methods like Blu-ray Disc. Look at redundant drives (such as RAIDs)

Drive Technology

• Internal Drive Solutions. Many computers support multiple drive slots. Consider placing a fast SATA drive internally into your computer as a performance disk. Keep this as only a scratch disk and avoid installing application or system files on it.
• External and Portable Drive Solutions. There are several different drives available once you've maximized your internal storage. You'll find both single and multiple drive solutions available. Look for units offering connections like FireWire, USB3, or eSATA.
• Networked RAIDs. You'll find several professional drives that allow multiple users to connect simultaneously. These solutions are important if you work in a multiple editor environment and need to share projects or assets.

• QPcard (www.qpcard.se). A cheap and easy way to address color calibration is to use a fresh calibration card when shooting. One option is the disposable QPcard. Priced at less than $5 per card, this is a great investment in accurate color. Simply use the adhesive strip to adhere one to your clapboard at the start of each day of shooting, and you’ll have a great source for checking color balance in post. With a white, black, and neutral gray surface, it is very easy to use the Three-Way Color Corrector when color correcting. In most cases, it will only take three to calibrate each camera.
• Photovision One Shot (www.photovisionvideo.com). This calibration device offers a black, white, and gray stripe to color calibrate. The other side is a white reflector to help bounce light on set. What’s great about it is that it is reusable and can fold to a small size to fit into a camera bag. Various sizes are available, from 6-inch targets to wear around your neck to 34-inch targets for large multicamera events.

1. Define the Goals and Set Parameters. What is the core message you are trying to convey. Who do you want to watch the video? What’s the desired outcome you’d like to create (volunteering, purchases, political change, or a good laugh?) What’s your budget and how long will the video run.
2. What’s the Concept? You’ll want to be able to quickly summarize the thene and objective for the video. Describe to others the core message and frame its delivery method.
3. What’s the Approach? Now’s the time to lay out the specifics. This is generally a narrative summary of the journey the audience is going to take. In a way, it might resemble a book report you wrote in school. A clear summary that reveals all of the important details which will be presented to the viewer. Describe specifics that will elicit response by the audience including music choice, shooting style, and editing approach. Describe the emotions you will solicit along the journey and how the audience will feel at the journey’s end.

• Too far away. Extend your thumb and pinky finger in opposite directions. This is a good target distance for the microphone to be from the mouth of your subject. You can't get this close all the time, but do your best.
• Getting too close. While proximity is important, you can get too close. If a microphone is too close to the audio source, the signal can become overloaded and distorted.
• Microphone rub. Be careful where you attach a microphone (especially if using a lavaliere mic). Try to avoid having the microphone rub against clothing.
• Consider the pickup pattern of the mic. Different microphones have different purposes. Make sure if you’re using an omnidirectional microphone, to place it so it can best capture the “whole” scene. Likewise, if using a shotgun microphone, angle it to capture the directional audio it’s capable of recording.

• For a digital mix, you should aim the volume to be near –12 dbfs. This works for tape-based output as well as DVD, and Blu-ray Disc (all non-broadcast environments).
• Many broadcasters request -20 dbfs as reference with peaks up to -10 dbfs.
• If you’re going to just output to the Internet, you can mix it hotter for playback on computer speakers. Boost the volume during the compression stage with a Normalize effect.
• If you’re “seeing red” in the audio meters, then your audio is distorted. This is bad and will create unwanted distortion.

1. In Final Cut Pro, mark an In and Out point within a sequence for the range you’d like to export.
2. Choose File > Export > XML. In the dialog that opens, choose Apple XML Interchange Format, version 4 (or newer) and click OK.
3. Specify a location for the new XML file (such as your project folder) and click OK. The XML file is very small and references the original media on your drive. It will only take a few seconds to write.
4. Switch to Adobe Premiere Pro and create a new project using a preset that most closely matches the video format you’ve been using.
5. In Premiere Pro, choose File > Import. Navigate to the XML file you created and click Import. Premiere Pro creates a sequence and adds the media and a report to the project.
6. Begin to update the edit or work with the imported project sources.

• Price fairly – Different businesses will need to charge differently for their services. Still, be sure you price services so you can survive for the long term. Be consistent with your prices and be sure to cover related costs like facilities, insurance, and equipment.

• Don’t do spec work – There is a lot of pressure to do unpaid work in the video field. Taking spec jobs to prove capabilities or show interest in a client. Look at other professions, they don’t face these same pressures. If you truly need to expand your portfolio, seek out legitimate nonprofit organizations and make a donation of your time and skill.

• Don’t badmouth your competition – Your only true competition is yourself. Speaking ill of your peers will only lower the standards of the industry as a whole.

• Your problems are your problems – Always pay your subcontractors (even if you haven’t received client payment). Similarly, you should not accept excuses from others above you in the client chain due to delayed payments. Make sure you responsibly keep payments flowing to those you hire.

• Act more like a lawyer and less like an artist – I’m not saying shelve your creativity... but remember that you are a trained professional with a code of conduct. You need to remember the important aspects of client management, professional communication, and ethical business practices if you want to succeed in video for the long term.

• Understanding Adobe Photoshop Podcast – web | iTunes
• Photoshop for Video Podcast – web | iTunes
• Tip Squirrel Website
• Adobe Camera Raw Guide

• Understanding Photoshop – Quick Fixes
• Understanding Photoshop – Creating Panorama Photos

• The first part describes the vertical resolution.
• The P or I describes whether the footage is progressive or interlaced.
• The last part describes its frame or field rate.
  

• When an HD format is interlaced, the number generally describes field rate (1080i60 would describe 60 fields per second).
  • When an HD format is progressive, the number generally describes frame rate (720p60 would be 60 frames per second).
  

This is the hardest message for most photographers to accept. You cannot truly make a professional video in isolation. Am I saying that one person can’t do everything? No. But can they do it well? Consider the following.

• Video projects often have firm deadlines – Whether it’s an air date, a live event, a corporate meeting, or a project launch. Deadlines are standard in the world of video, having a team means bench strength and safety in numbers.

• You’ll make more money doing what you do best – How many photographers are magazine publishers? Do they sell the advertisements and write all the stories? What about when publishing a book... do they fire up their personal printing press? The point here is that a photographer should do what they do best. That tends to be direct the talent, pick the locations for shooting, lens the project, and carry their creative vision through the editing and graphics stages. I am not saying you should avoid editing or motion graphics, but you may be pretty slow (especially when you first start). I say try anything three times… but if you find you hate the work or you are turning down other jobs... then its time to move on. You can always find people who want to do parts of the job you are weakest at… plus they’ll likely be far faster than you. This will let you shoot more and line up more business through your contacts.

• The creative mind is like a hive – Adding additional people that you trust can really lead to a better product. I find that having other professionals around keeps me from slipping into my old habits. It also leads to creative discussions that push the envelope and lead to a better outcome.
  

• Make sure you have enough help to load gear in and out so you get off to a good start. For that matter, be sure to use a rolling cart to cut down on wear and tear on your body and speed up moving times between locations.
• Be sure to allow time for meal breaks. Keeping people from eating will only make them cranky and less productive. Try to bring some snacks and drinks on the set to keep people comfortable and from wandering off.
• Keep the schedule reasonable. We try to not to let the client schedule the first interview for 8:00 a.m. We’ve often had to convey to the client, “If you schedule this for 8:00 a.m., it means we have to leave our houses at 4:30 a.m. in order to have to everything set up on time.”
• We routinely have to remind clients that an eight-hour day does not mean eight hours of interviews. We also have to point out that it is a contiguous eight hours. You can’t schedule a crew to start at 9:00 a.m., then give them a five hour break in the middle of the day, and want them tape something that goes until 10:00 at night.
• Be sure to work with your clients and gently educate them. Sometimes we’ve had to say, “Yes, we can do this. But we’re going to have two crews and we’re going to have a changeover period here and the second crew will step on to the set and continue into the night.” Be smart: Respect your clients and your crew if you want the best results.

• DSLR Essentials
• Photoshop for Video
• Adobe Premiere Pro
• Adobe After Effects
• Final Cut Help

1. Open the file Budget_Template.xls. You’ll either need Apple Numbers (part of iWork) or Microsoft Excel. The templates are filled in with several standard labor items for video production tasks.
2. Add rows for tasks as needed since this document is by no means exhaustive. Be sure to add any items you frequently need and delete any items that you never use from the starter template.
3. Adjust the rates for your services. It is beyond the scope of this book to tell you how to price your services. You should do a little market analysis and see what your competition charges for items as well as look at your own internal costs.
4. Once the rates and task items match your internal needs, save the document as a Budget Master for your company.
5. Locate the file on your computer and press Command+I to access its properties.
6. Select the Stationary Pad and Locked check boxes. Now your master budget cannot be overwritten, and when you double-click it, a new blank budget opens as a clean slate.
7. When you’re ready to use the budget, double-click the file to open a new budget. Enter the quantity for all items you expect the project to need.
8. Instead of deleting unused items, simply right-click on a row and choose Hide Row (Numbers) or Hide (Excel).
9. If you want to discount items, just adjust the discount amount in Column E.
10. All items will be subtotaled by category with a budget summary at the bottom of the spreadsheet.
11. Save your budget, and then print or email it as needed. Be sure to save a new version for every change in case you need to compare budgets later in the project.

Aesthetic Matching

• Color settings – Use the same color space for each camera if it's a choice.
• Picture Style – Many cameras offer different modes that stylize the footage. We recommend shooting flat and adjusting your color with Adobe Premiere Pro or After Effects after the shoot for greater flexibility.
• Shutter speed – Your shutter speed should typically be 1/60 if shooting 30 fps or 1/50 if shooting 24 fps. You can alter this number for different looks, but be sure the cameras all match.

Technical Matching

• Frame size – Your frame sizes must match. Be sure that you aren’t mixing 720p with 1080p.
• Frame rate – All your cameras must match frame rate (exactly). Be sure to check that you have a precise match. Make sure the firmware of your cameras is also up to date.
• Color calibration – Be sure that all angles color calibrate at the same time, on the same subject, under identical lighting conditions. Otherwise, you’ll have a lot more postproduction work.

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I had a great time up in Boston recently speaking to the DSLR Meetup group. I met some lovely folks and had a chancee to share a bunch of info about DSLR Pre-Production and Post.

Here is a great writeup on the event – http://www.needcreative.net/main/2010/12/20/holiday-boston-dslr-meetup-featuring-richard-harrington.html

Here are my slides from the event – Producing DSLR Shoots

• Dragging to the upper-third of the track results in an insert edit.
• Dragging to the lower two-thirds of the track results in an overwrite edit.

• Dragging in the Timeline horizontally results in an overwrite edit by default.
• Dragging in the Timeline horizontally results in an insert or swap edit when you hold down the Option key.
• Dragging in the Timeline vertically results in an overwrite edit by default.
• Dragging in the Timeline vertically results in an insert edit when you press the Option key after you start to drag.
• Pressing the Option key and then dragging in the Timeline vertically results in a cloned copy added to the Timeline via an insert edit.
• Pressing the Option and Shift keys and then dragging in the Timeline vertically results in a cloned copy added to the Timeline directly above the clip

• more storage – Hard drives cost money
• more time searching – Time spent searching for the right shot costs you money
• more time loading or transcoding – Even fast machines still take a long while to transcode

• Lurk a little. Get the hang of the tone and community first. It’s just like a party, don’t walk through the door and start yelling.
  • Use the search function first. If you ask a question that has already been recently answered recently, you’re going to feel ignored.
  • Post short questions. Nothing turns off a potential responder than the feeling that they’re taking a graduate school exam. Eight-part essay questions are fun for no one. Keep your questions short and direct.
  • Give context. Let people know details about the system or gear you’re using, software versions, etc. Even smart geeks aren’t mind readers.
  • Give a little, get a lot. If you only ask questions in a forum, you’re going to have bad karma. Most forums have unpaid hosts who do their best to answer questions. Helping out is good for the health of the forum and community.

1. Identify the final sequence. This sequence should be what is called "picture-locked" meaning that no additional changes will take place to the sequence.
2. Make sure that the whole sequence is rendered. Click in the timeline and choose Select All, then render the clips.
3. Mark and In point at the start of the footage you want, then mark an Out point at the end of the range. For most editing tools, you can use the keyboard shortcuts I and O for In and Out respectively.
4. Look in the file menu or application menu for an option to export the file. Choose this option.
5. Export the file using the same high quality settings that you were editing with, meaning the same frame size, frame rate and codec.
6. Save the file to a location of your choosing, keep in mind that the file you export will be large so choose a location that has enough storage space.

• Follow the RHED Pixel team as they detail every step of the way with engaging illustrations that demonstrate the process from concept to distribution including:
• Preproduction planning of concept, scope, budget, and casting
• Web-specific techniques for audio, lighting, and videography
• Detailed overview of editing and encoding of web video
• Effective branding and storytelling aids including b-roll, images and motion graphics
• Distribution alternatives including HTML5, Flash, podcasting, RSS, and website hosting
• Effective techniques to promote and monetize your video

1. Drag the file into iTunes.
2. Choose iTunes > Preferences, then click on the General button and click the Importing tab.
3. Choose AIFF and set the sample size to 16 bit and the sample rate to 48kHz. Specify if the file is stereo or mono.
4. Click OK then Click OK again to close the second window.
5. Highlight the files you want to convert and choose Advanced > Create AIFF version.
6. To reveal the converted file, highlight it and press Command + R to reveal it at the Finder level.

Through the years, we’ve learned a lot of lessons the hard way. While every project is unique, it often seems that the problems remain the same. Here are a few questions we always encourage asking at the start of a project:

• Who is our customer? Projects often have many parties involved. Know who you are responsible to keep happy.
• What is the purpose? You need to know what the video is trying to accomplish.
• How will we measure success? Determine which factors will be used to judge the success of the project.
• What do we want to say? Identify the goal of the piece and the message that the audience should walk away with.
• What resources do we have? Decide who will be assigned to the project. Establish if there are any assets or resources available to the project that should be utilized.
• What is the budget? Never discuss approach without having an idea of your financial constraints. Creative types often get swept up into big ideas without knowing what the project can support.
• What are the deadlines? Equally as important as budget is schedule. You need to understand any major milestones so you can schedule work and adjust your approach to match the available time.
• Are there any customer requirements? Never make assumptions. It’s always a good idea to ask the clients if they have any specific needs or requirements for the end product. You’ll often be surprised how important details can go unspoken until the very end of the project.

(1O + 4M +1P) ÷ 6

It means one optimistic + four most likely + one pessimistic divided by six.
What does that mean? It’s pretty simple: You create a time estimate based on averaging the information you gather. For example, you can approach a graphic designer and ask, "How long would this take?” The answer is not the most likely number. It’s the optimistic number, because if you ask any creative person how long something will take, the answer is an exaggerated number. Let’s say the number is eight hours.
Then you say, “Well, if it was anybody else, how long would it take?” And that’s the most likely number. For our formula, let’s use 12 hours.
Then ask, "If something goes wrong that you really didn’t count on, what is the worst case scenario?" In this example, use 22 hours.
You then plug these values into the formula to get your result: ((1*8) + (4*12) + (1*22) ÷ 6 = 13 hours for the task.
This budgeting formula works well when no historical data is available for review. It’s also more accurate if you are able to ask more than one person for time estimates. You can then average multiple answers.

This article is excerpted from the Pre-Production chapter in the book Video Made on a Mac: Production and Postproduction Using Apple Final Cut Studio and Adobe Creative Suite.

• Get a closing shot.
• Get an establishing shot.
• Shoot plenty of video.
• Adhere to the rule of thirds.
• Keep your shots steady.
• Follow the action.
• Use trucking shots.
• Find unusual angles.
• Lean forward or backward.
• Get wide and tight shots.
• Shoot matched action.
• Get sequences.
• Avoid fast pans and snap zooms.
• Shoot cutaways.
• Use lights.
• Grab good sound bites.
• Get plenty of natural sound.
• Plan your shoot.