2008 FCPUG SuperMag     What's inside the 100 pages? Final Cut Pro Timeline by Rick Young When historians look back at the history of editing there will be before Final Cut Pro and after Final Cut Pro. The Long Road to Final Cut by Michael Horton Fcp creator Randy Ubillos speaks to Michael Horton about the long and crooked road leading up to Final Cut Pro 1.0 Whatsagoin'on at NAB? by Keith Larsen On November 13, 2007 news out of Tewksbury, Massachusetts rocked the digital production world. On February 7, 2008 news out of Cupertino, California dropped another bomb on the desktop video public/ Whatsagoin'on? Increasing Efficiency In The Browser by Andrew Balis In this article, we'll look at a few basic things about working in the Browser that can help to simplify tasks, make it easier to keep certain material closely at your fingertips, modify multiple clip properties together, and as a result, increase your efficiency. Delivering Web Video to iPhone by Christopher Phrommayon The iphone is a great device for watching video on-the-go, but delivering video content to the iphone can be a bit of a challenge. Mexico Goes To China by Noah Kadner Simplemente embarked on its most ambitious project yet, a complete post-production solution for Televisa's coverage of the 2008 Summer Olympics in Beijing, China. Transcoding for Editing on the Road by Shane Ross The Situation. You are editing a 1080i DVCPRo HD (or HDV, or ProRes) project on your nice big Final Cut Pro system. While this is a small project, you have a tight deadline and are putting in long hours to meet it. Suddenly you find that you have to travel across the country for business that will keep you away from that system for Four days. The Power of Attributes by Larry Jordan Allow me to introduce a powerful tool: Paste Attributes. Perfect Drop Shadows in Title 3D by Jim Kanter Tutorials on powerful keyboard shortcuts and really cool effects? Very sexy. Drop Shadows? About as unsexy as you can get. Creating a Cool Title Sequence Using Photoshop, After Effects and Final Cut Pro by Alan Spalding When I was growing up I always wanted to be a "Special Effects Technician." Creating the Snatch Effect by Aidria Astravas You ever need a funky, creative way to quickly introduce more than one character in your introduction, and lower thirds or VO are making you yawn? Ending Timecode and Watermarks by Tom Wolsky I have frequently found myself with long layovers or delays at airports sitting in an Admirals Club editing on a laptop and a couple of FireWire drives. An important factor in being able to do this is to be able to deliver to the client a video file that can be viewed with timecode so that an exact discussion can be had about the content. Adding Accents and Other Symbols in Final Cut Pro by Andrew Balis & Steve Martin Sometimes you are faced with having to type a foreign name or location when working with the US keyboard layout. Here we'll look at using the OS X Character Palette to add characters like: é or ü or any type of accent over a letter, other related and non-related symbols, webdings and a host of different images. Introduction to Apple Color FX Nodes by Walter Biscardi Jr. The Color FX Room really sets Apple's Color apart from any other color correction tool on the Mac. But if you've never worked with Nodes before, it can be a very intimidating room. Here's a very basic introduction to working with Nodes. Video Forensics - How to Tell What Went Wrong Before it Got to You! by Philip Hodgetts Now, we know it's not your fault, but sometimes you get footage that comes in from somewhere else and it doesn't look "right". It's your job to work with the footage, but it's flawed. What do you tell the content source about what's wrong with the footage, and what a better workflow might have been. Like neurosurgery, we can learn a lot from what goes wrong, in order to make it better next time. Breaking the Speed Limit by Noah Kadner My friends Rune Hansen and Monica Reina at Simplemente in Mexico City recently acquired a Phantom HD Digital Cinema camera from Vision Research. We got to shoot a bunch of slow- motion footage and then worked with it in Final Cut Pro to create demo reels for theatrical projection. We needed to accomplish all of this in the space of about 48 hours. Can a Podcast Earn You an Honest Buck by Keith Larsen Most people would say "no". The virtual ware- house chock full of podcasting programming in iTunes or other aggregator choices is bursting at the seams with content. Who to choose? What's the difference? What makes your show worth more than another for warranting ad- vertising revenue from corporate sponsorship?