4 made it's LA debut and figuring
a lot of people wanted to see it we moved our regular meeting
from the LA Film School to the beautiful Digital
Cinema Lab in Hollywood which has a capacity of over 1000
seats. Good thing we did. Over 800 people showed up making this
the largest gathering of FCP users on the planet anywhere at
anytime. It was a remarkable night not only because of the amount
of people who attended but because of their enthusiasm. A lot
of spirit in that room and a lot of fun was had.
First up as usual was Stump the Gurus
with lafcpug regular Ken
Stone, and special guest Gurus, Steve Martin of Ripple Training , author,
Lisa Brenneis and special guest, co creator of FCP, Michael
Wohl. Steve was a bit late having been caught in traffic
so Paul Saccone filled in for a few minutes. Some of the
questions asked and answered were:
Q.) Is there a way I can modify the speed
of a clip without it pushing the other clips down the timeline?
A.) Not really. At least in version 3. You will be able to in
version 4. For now you can lock all your tracks and put the clip
you want to modify on a separate track or do a match frame and
use fit to fill.
Q.) I'm getting jaggie text and blurry
text. My text looks like crap. What can I do?
A.) Read this: http://www.lafcpug.org/perfect_titles.html
Q.) I just moved 5 edited sequences from
one computer to another computer using the media manager and
I get this a "missing media" error and it says "clip
does not have enough content..." Some of the movies contain
the same file so I am wondering if maybe during the move on clip
over wrote another.
A.) Maybe. Try using MM and moving the movies one at a time rather
than all at once.
Q.)Is there a way to identify WHAT clips
are being used and what clips are not? I'd like to find out before
I use the MM to move my files.
A. Go up to EDIT menu, select FIND, then from pop up select UNUSED
Media and it will pop up the clips with all of your unused media
Q.) I'm getting interlace problems with
graphics I bring in and after rendering they look like crap.
What can I do?
A.) Try turning off interlacing in your sequence settings and
set Pixel Aspect Ratio to NONE. Try that. Try exporting at Photo-jpeg
and see if that helps
we were using the Digital Cinema Lab it would of been silly not
to take advantage of this place so we brought in the Executive
Director of the Entertainment Technology Center, Charles Swartz
to show and tell us what exactly they do.
Charles began by giving us a bit of history.
This theatre was originally built by the Warner Brothers in 1926
(specifically for the premiere of the "Jazz Singer")
who's original studio was nearby before they moved to Burbank.
It is designated a historical landmark by the State of California.
USC now operates this theatre which is
essentially used as a research lab whose mission is to understand
how new technology, specifically digital cinema (the ETC defines
Digital Cinema as the mastering Distribution and Exhibition of
movies regardless of their origination) and affects the movie
going experience. In other words this place tests out the latest
technology that one day will appear in cinemas through the world.
It currently houses what is considered the best projector in
the world, the Mark7 from Texas Instruments) That is the best
for now according to Charles. New ones are coming and they of
course will be better.
Charles says about 150 theaters in the
world have converted to Digital. Why not more? Technology is
expensive and no one has agreed on standards. One of the missions
of this lab is to create those standards.
Charles then showed us a edited montage
featuring many current motion pictures in digital form, Including
clips from Star Wars, Monster Inc, Spy Kids, Shrek, 102 Dalmations,
and more. It was projected from a Cubit server which uses a proprietary
system of wavlet compression. How big are the files? Well, Star
Wars in it's compressed form is between 50 and 75 GBs.
The experience of watching these clips
in its digital form projected from a top notch TI projector and
a state of the art sound system creates a movie experience that
is a wonder to behold and be a part of. And this is only the
beginning according to Charles. 2K projectors are coming.
Time to show and what everyone came to
see and hear. With a little bit of help from Kerry Millerick
who shot off streamers into the audience, we introduced FCP Product
Manager, Paul Saccone and FCP Product Designer, Brian
Meaney and the celebration began.
began with a brief over view of what you get for $399.00 (upgrade)
or $999.00 (Full Retail install for first time buyers) and it
is considerable. Beyond considerable really.
FCP 4 has over 300 new enhancements,
features and tools spread out over 5 different applications included
in the box. To make it a little easier to get a handle on all
this, these 300 enhancements are broken down into categories.
RT Extreme ( multi structure RT support for a number of streams,
that number dependent on how powerful your computer is) with
nearly unlimited RT effects, scalable to your CPU.
Customization: You can now map your Keyboard
Multitrack Audio Mixing with multi channel OUTPUT.
More on that later
More on that later
Time remapping: More on that later
Broadcast Quality codecs
8-bit uncompressed (4:2:2) YUV SD and HD
10-bit uncompressed (4:2:2) YUV SD and HD
DVCPRO50 (4:2:2) YUV SD
MPEG-2 for distribution (thats a BRAND NEW encoder)
HDR Imaging (High Dynamic Range) FCP can now render in 10bit
mode. HDR renders in full 32bits per channel. Other NLEs, according
to Paul, would cost you $100,000 or more to do this.
Tools, (now included FREE with V4. It has support for Change
Lists as well as dupe detection.
A brand new tool for batch encoding and automatic encoding. You
can now take your sequence and export to MPEG 4 or 2 or QuickTime.
Media Management: You can now capture over TC breaks or gaps
in TC on your tape, More later
ENHANCED EDL support
Plugins: Support for FX script, Adobe AE plugins, and new, OSX
audio units for audio filters.
XML Interchange: This industry standard makes FCP the most open
NLE platform around, according to Paul. ANYTHING that is in your
timeline can be represented as an XML document, meaning any other
NLE that can parse XML documents can get data into and out of
FCP4. (Automatic Duck is working on a AAF I/O component as we
speak and it will be available FREE to FCP 4 owners when it is
I/O framework: Ability to get fully uncompressed SD (audio and
10bit video) into and out of your Mac via Firewire cable. The
AJA Io is an example.
Developer Tools: At the next WWDC in June Developer Tools for
all third party developers will be available for anyone who wants
to get them.
then brought up Ted Schilowitz, product manager for AJA to talk briefly about the
new "Io" BOB which is being co developed by Apple and
Aja. AJA does the hardware and Apple does the drivers. The BOB
is simple in its design. No buttons or dipswitches or software
set up and no PCI Card installation or adapters. Just plug it
in via FW. Has Inputs that support 10-bit Uncompressed SDI, Component
Analog, Composite, and S-Video - auto detected. Audio will handle
AES/EBU, Balanced/Unbalanced, ADAT, SPDIF, Embedded SDI -auto
detected. Outputs support video 10bit Uncompressed SDI, Component
analog, Composite, S-Video - all live and audio: AES/EBU, ADAT,
Embedded SDI - all live. Pretty much any format you can think
of. It will sell for $2300 and be available in June and will
work with FCP4 ONLY. Essentially it is the first product to take
advantage of the new I/O framework Apple is developing.
Keep reading folks. We've only begun:
Time for the demos and Paul began with
the scalable RT Extreme. (The Mac that was used for this demo
was a DP 1.42 for those of you keeping score.) Scalable means
you can get RT with a simple G-4 500mgz Mac but the more powerful
CPU, the more streams of Real Time you will get. For example
Paul brought up 2 video streams and a text layer and played them
in Real Time. Well thats no big deal. You can do that on FCP
3 and a fast Mac. Using RT Extreme Paul brought up 4 video streams
and a text layer. Ok, cool....(BTW, You can send all this out
via FW to a NTSC Monitor) Before we move on I have to say that
Apple has given us users control over our RT capabilities by
giving us a SAFE mode and a UNLIMITED mode. In SAFE mode, you
are only able to do what the machine can handle. In unlimited
mode you can keep adding layers and (almost all the 200 transitions
and filters included) in RT and depending on your quality settings,
(you have high, medium and Low) you can keep adding till you
showed us 8 layers of video with a text layer playing at HIGH
quality settings and it dropped a few frames. At LOW quality
however, it played smooth as a babies bottom. Then Paul brought
up 3 layers of Video and a text layer (probably could have added
more) and played it at HIGH quality (Full DV Resolution) and
it also played smoothly. In this example, Paul could of gone
straight to tape. This was FULL DV Resolution out FW to NTSC.
Big applause from audience.
Paul then moved into Live
Type, the new titler included with FCP 4 and judging from
the reaction from the audience, this one is a big hit.
From FCP, Paul opened Live Type and took
us through some of its very cool features. The interface shows
your video on the Top left and your timeline below. You can use
your system fonts and place your title in a straight path or
curved path with Bezier support. You can also isolate each individual
character to do whatever you wish with. Live Type comes with
Live Fonts which are very cool animated fonts that have pretty
much done all the work for you should you desire to use animated
titles in your movie. One would think that perhaps this might
be a little cheesy but on closer inspection these things were
created by very fine artists and are quite lovely as well as
useful. Each one of these live fonts are customizable and categories
include textures, Live Fonts, Fonts, Objects and Effects. Effects
are very cool and have to be seen to be appreciated. Much more
info on Live Type can be had HERE.
up next and, especially for those of us musically challenged,
this app is a gift. Paul opened the interface and it shows your
video sequence at top left with video clips from that sequence
at top center. The timeline is below your video clips with scoring
markers you conveniently put in while editing your sequence in
FCP4. Paul began with a selection of drum clips which he auditioned
from a large number of included loops. Finding the one he liked
he simply dragged the loop into the timeline. You can shorten
or lengthen the loop to any length you desire. Next, Paul auditioned
several of the included "synthesizer loops" and dropped
one of those under the drum loops. How about a guitar loop? Sure.
Bass loop? You betcha. Drop one of those in. ALL in real Time.
No rendering. What is very cool is that all of these different
loops had different tempos, keys and beats but when put together
in the timeline SoundTrack will mix them as ONE tempo, beat and
Key to sound as though they all go together, all in real time.
Sweet. You can have these loops come in at any time you wish
simply by adding them anywhere in the timeline. You need only
export your sequence from FCP with scoring markers which you
bring up by hitting MM and selecting "Scoring Marker."
End result to spending about 5 minutes with this app was a very
nice and not so "canned" sounding music background
to your video.
There are also 19 audio filters from
e-magic included in this app which you can apply all in real
time AND, if you wish using the custom emagic interface. Done?
Export back to FCP and do final mix in the FCP RT Audio Mixer.
Thats REAL TIME folks.
So you got your music in your timeline
and it's time to mix that with your dialogue and whatever else
you have in there. Bring up the Mixer and start mixing. Bring
your music down on dialogue and music up on visuals all in RT.
But what is really cool here is as you play with the sliders
on the audio mixer it writes the keyframes on the audio tracks
at the same time. You can choose to have it write ALL keyframes
or reduced Keyframes. Not enough? Well how about opening up those
audio filters that FCP has given us since Version 1 and placing
one of those on the audio track and playing with it in REAL TIME.
Yep, you can do that now.
then handed the mouse to Product Designer Brian Meaney
who took us through the "little things" that are now
included in FCP4. And it is those "little things" as
you will see that make this version and especially the workflow
so very powerful.
Since Paul left the Audio Mixer open
Brian started with that and took us through the many ways it
can be customized. You can make the mixer window as small or
as large as you want with as many tracks showing or not showing
as you want. You can click off as many audio tracks as you want
and view in different modes. For example you can view dialogue
tracks only or music tracks only or sound effects tracks only
etc. Depending on how many tracks you have selected in one of
those views, the same amount will also appear on your audio meter.
How about some new editing features.
This is an editing app ya know.
Remember when you wanted to, say match
a clip in your timeline with the source or master clip in your
bin and you could only do that with a match frame and go hunting
technique? No more. Put your play head on the clip and go up
to the VIEW menu and choose Reveal Master Clip and viola, it
magically highlights the clip in the bin. No more hunting.
Another cool feature is called Merge
Clips which essentially allows you to lasso a bunch of clips
(audio and Video) and turn them into one NEW clip. YOU can sync
up via timecode, in points, out points or aux timecode. Very
handy if for example you have audio from say a DAT source and
you want to throw it in with a video clip.
Brian says Auto Save has gotten MUCH
faster and works much better in V4. There is now a keyboard shortcut
that changes the focus from the Viewer to the Canvas. Change
the name of your clip in the Bin and it will update that name
in your timeline automatically. Big time cool!
selecting a clip in the bin or a set of clips in the bin you
now can set your Bin Column Layout to show ONLY the exact items
you want it to show. You do this via a pop up menu. Select another
set of clips and do the same. Handy if you want one set to include
certain item properties in the layout and another set to include
item properties in addition or different then the first set and
Zooming into timeline has been improved.
Much faster. Also, by using this nifty little widget at bottom
of screen you can not only zoom in on the Timeline but also the
playhead at the same time meaning your playhead stays on the
screen now while zooming. HUGE, huh?
Brian then showed us a bit of the trimming
enhancements including support for asymmetric trimming. Says
Steve Martin: "For those of you who do a lot of multi-track
dialog editing, this feature is incredibly useful because you
can now Command-click with your ripple tool to select both the
A side of your outgoing clip and the B side of your incoming
audio clip. When you perform the trim, the B side of the clip
is trimmed in the opposite direction as the A side, which effectively
keeps everything in sync while giving you more flexibility in
experimenting with various types of dialog edits." You can
do this in the trim window as well as the timeline. You can also
hear ALL the audio in your trim window.
The customizable Keyboard window is quite
nice and extremely easy to use. All drag and drop for those of
you who dont like to read. But what is very cool about this is
the ability to simply drag a keyboard shortcut item from the
Custom Keyboard window as a BUTTON and place it in a space provided
on the timeline or viewer or canvas or browser. Buttons are a
feature of FCP4 that are incredibly powerful as a workflow enhancement.
Plus they're dang cute. You can save button sets and have only
those sets in view if you so wish. Have a set for capturing,
a set for compositing, for editing, for trimming, etc. Change
the colors of the buttons, arrange them anyway you want. Very
powerful and infinitely useful.
Window layouts can be changed as saved
as a button plus FCP will take into account your aspect ratio.
Say you are working in 16:9., well FCP will automatically take
that into account and adjust your custom layouts aspect ratio.
PLUS it keep whatever trimming, editing, audio, capturing etc
set of buttons you saved to that particular layout.
Another cool feature is you now have
the ability to change the speed of a clip in Real Time. Really.
We saw him do it. The new Time Remap plug in that obviously goes
along with speed changes is also very powerful and in really
on the clip you made the speed changes too and up pops a window
telling you the speed on the right and speed on the left plus
timecode plus TC of old source frame and new source frame. Now
move your selection to the right or left and the window remains
open giving you the TC and speed changes but more importantly
you can view the speed changes in the canvas in real time. No
math required here. You can pick and choose what frame you want
your speed change to begin and end and how fast and how slow
completely visually ad in REAL TIME.
Other timeline enhancements include the
ability to resize each track individually, or holding down the
shift key, resize all of them at once, or holding down the option
key, resize only like tracks such as only audio or only video.
You can also save these adjustments out to disk or to your custom
Another cool enhancement is the "Keyframe
Editor" which allows you to view whatever set of keyframes
you want to view applied to your clip via a pop up menu. No need
to go to Viewer. For example we wanted to see the keyframes from
the time remap Brian did. Brian simply selected the keyframe
graph from the pop up window for the remap he just did and up
it came. You can clear out and smooth and essentially do anything
you used to be able to do in the Viewer now on the timeline,
and in real time and out FW to NTSC. You can still go up to Viewer
if you like.
There is scroll mouse support now which
will allow you to independently adjust audio and video tracks
up and down. Also travel through the browser with greater ease.
You can also jog with a scroll mouse. AND it will adjust the
volume of the audio mixer up and down. Those are but a few.
My fingers are bleeding at this point
from so much typing.
that the above is just scratching the surface of what actually
is included in this app. To cover it properly would take 5 evenings,
so now was a good time to take a break and go out into the lobby
and digest all of this and come back in to ask questions. In
the lobby tonight were AJA,
Assistance, DV Creators
and Digital Anarchy
OK, we're back and it was time for the
big Q and A which could of gone on for 3 hours but alas
we only had 45 minutes.
Some of the questions asked and answered:
Q.) Is there audio support for external
A.) No. Not in this version.
Q.) Concerning Soundtrack, can you record
your own sounds and use them in SoundTrack? And is there any
A.) Yes. you can bring in your own sounds and import into Soundtrack
and no there is no support for Midi.
Q.) Can you bring a audio track sampled
at 44.1khz and drop it into a 48khz timeline and have it automatically
A.) Yes you can. FCP will up sample on the fly. (Brian then got
a bit sidetracked and showed us that now you can option drag
a rendered clip and it will preserve the render files. You can
also copy and paste attributes of rendered clips and that will
also preserve the render files
Q.) Are the sound files that come with
Soundtrack standard AIFF files or are they proprietary?
A.) Soundtrack supports AIFF, Waves and also compatible with
the Acid Loop Library format..
Q.) Can you compare Compressor to what
is now available in FCP3
A.) There is no comparison. You have an enormous amount of export
and encoding options when you bring up the Compressor Window
including 2 pass VBR. Quality and speed wise, at least compared
to any other software solution out there, we believe Compressor
is the best there is. More on Compressor
can be found HERE.
Q.) Can FCP 4 do Stop Motion animation?
A.) No but third party solutions such as iStop Motion <http://www.istopmotion.com/>
Q.) With Cinema Tools, can you, in addition
to show the TC, Key numbers, and audio source reel numbers from
the flex files.
A.) Cinema Tools is essentially the same as before as all information
relies inside the application but there are a few changes. You
can now add telecine on the fly for DV 24 material out FW in
Real Time. There is integration with the DVX100 for removing
the telecine after capture and playing it back out via FW in
Real Time. Cinema Tools includes support for Change Lists now
as film as Film Lists and Audio EDLs.
Q.) Can you compose 5.1 in Soundtrack?
A.) No. You can in DVDSP but it is very hard. You also can go
to a third party solution such as Bias Deck.
Q.) One of the issues with FCP 3 is capture.
Have you done anything in FCP besides give us the ability to
capture over TC breaks that has improved the robustness of capturing
SD or DV media so it is less problematic, i.e. drop frames, periodic
A.) Much as been optimized in a general sense but much of what
causes your specific issues can be attributed to configuration
issues. This is one of the difficulties with being a open system.
Q.) I see that you have to export your
sequence to Live Type or Soundtrack. How exactly do you do that
and is it a project file or a self contained movie or a ref file?
A.) It's a QuickTime Ref File and you just go to the FILE menu
and select EXPORT and then select Live Type or Soundtrack.
Q.) Is there a "Normalize"
effect included in the audio effects?
A.) No, but other third party solutions have that.
Q.) Can you show me how the dupe frame
detection thing works?
A,) Sure. Typically if I edit a sequence inside of a sequence
it shows up as a nest per se. Now by holding down the command
key I can edit in the source items as well. Now I'll do that
twice to give you an example of the Dupe Frame detection. By
holding down the control key I can bring up a pop up window and
turn on Show Duplicate Frames, so I will. Then from that window
it will show me where that dupe frame is as well as BRING me
to that dupe frame in the timeline.
Q.) Is there any Multi Camera Support?
Q. How has OMF support changed?
A.) We've added support or 24bit files. We cannot import OMF
files but Automatic Duck is working on a AAF import and export
and it will be available in the future.
Q.) Is there any support for script based
editing in FCP4?
A.) No. But the whole XML thing opens up a big door to third
party developers. We are aware there is a need especially in
Q.) When saving a project AS can I go
into the list of previous saved projects and pull one name off
the list without having to retype it?
Q.) Will Soundtrack allow me to bring
in my own material and make tempo changes?
A.) You can tag your material in Soundtrack and once it's been
Soundtrack-ized, yes you can do tempo changes.
Q.) Why is there so many audio tracks
out of FCP yet only two tracks in?
A.) We definitely recognize that as very important.
Q.) Does Compressor support cropping
out over scan?
A.) Yes. Supports that, plus water marking and much much more.
Q.) When working on a film project is
Dupe detection based on TC or Key Numbers and if you want to
have dupe detection across multiple sequences do you have to
assemble them into one sequence?
A.) Yes you have to assemble into one sequence and Dupe Detection
is based on Time Code as it exists in FCP now.
Q.) How does this capturing over a TC
break thing work?
A.) What Final Cut does is, assuming the TC is moving forward,
nothing changes. FCP automatically keeps name of reel and timecode
moving forward with out change. BUT if your TC re sets to ZERO
or goes back in time indicating you reset it out in the field,
FCP will auto increment the REEL Name, so you can essentially
walk away while capturing and then log it later with the master
clip relationship and you are still good to go.
Q.)Some OMF files I have brought in from
other editing platforms have had volume automation brought directly
into ProTools. Is that supported in FCP 4?
Q.) What is the upgrade path for FCP.
Will we have as much trouble upgrading to 4.0 as we do with 3.0
especially if we have a Mac that boots only into OSX? What ships
in the box to make our install less problematic.
A.) FCP 4 installer will install over your current version and
auto detect your serial number so there is no need anymore to
do a backwards install just to upgrade. Simply put the CD in
and you are good to go.
Q.) If I have a fast Mac and an Io an
I stripe 2 or more ATA drives, can I capture Beta SP uncompressed?
A. Well at NAB, AJA was showing an Io with 2 striped FW 800 drives
with no problems so Yes, that should work fine.
Q.) Will Apple education be offering
a discount to students or teachers for FCP 4?
A.) If you are a individual education or academic customer you
would purchase the FCP 4 Retail upgrade version for $399.00 like
everyone else. Your education or academic serial number will
work with the full retail upgrade package. If you are an institution
and you have a academic lab pack of say version 1 2 or 3, then
instead of doing another academic lab pack we will offer volume
licensing with a educational discount.
Q.) Anything new in the color correction
A.) Yes, one cool thing is you can arrange your layout in a preset
"multiple edit" style where the edit you are currently
working on will be surrounded on the left and right by the previous
and the next edits. Want to use only one window? You can split
it horizontally or vertically or resize within the window. Edge
thinning and softening has also been added to the color corrector.
A lot of nice tweaks all around for the CC.
Q.) Is there any network rendering in
A.) No. But there is a cool new preference called Auto Render
which is kind of cool. Set it to render any time you want. Say
you want it to start rendering 10 minutes after you leave for
lunch. Set it for 10 minutes after you leave for lunch.
Q.) Will FCP 4 handle different audio
sample rates in the same timeline better than in previous versions
and should we still convert audio files to match the sequence
audio sample rate prior to bringing into FCP 4?
A.) Yes, FCP 4 will handle this much better and with item level
rendering it isn't much of a problem to render out the item only.
I'd say it isn't much of a problem anymore and it's best to render
if you have too in the timeline. Plus the auto render will kick
in after you walk away depending on what you set it at.
Q.) Last year lafcpug asked the world
what features they wanted to se in the next version of FCP. Well
now that it is announced how many of those features that were
on the list are now in FCP 4.
A. (Paul just happened to have printed out that list and held
it up) It looks to be about 2/3s of the top 50 that were sent
to us. (I concur. Out of the top 50 about two thirds of the features
that were requested are now in FCP 4. So yes, Apple does listen
and continues to listen.)
Q.) Will my current set of plug ins convert
over to FCP 4 and will my set of AE plug ins be supported in
A.) Certainly all the FCP plugins built in FX script (These include
Joes Filters and CGM) will convert seemlessly, but more importantly
it is not the effects that have been made real time it is the
parameters within the effects so all third party effects currently
working within FCP or even filters you create yourself will play
in real time. After Effects support has not changed. Essentially
what works in FCP3 will work in FCP 4 only it will work in real
Q.) Is there currently a San solution
A.) No but we are looking at a different number of potential
solutions from third parties. We are definitely aware of how
important this is.
Q.) When I do an UNDO it would be great
to be able to see exactly what it is I am undoing especially
after several undo's. Does FCP 4 support that?
A.) No. But I agree, it is very important.
Q.) Does turning off track visibility
still loose the render files meaning if you turn it off you have
to render again?
A.) Yes. That still exists. We do highly recommend turning off
CLIP visibility rather than TRACK visibility so you only loose
the renders on the item you are working on rather than the whole
Q.) Is RT Extreme exclusive to FCP 4
or can one get more functionality with a third party capture
card such as Kona?
A.) You can get more power with certain cards. RT Extreme is
sort of the general wave length for the RT structure so there
can be hardware OR software assistance. So there are things such
as Luma Keys with a Cinewave card that can be played at FULL
quality in RT.
Q.) What exactly can you bring into Live
Type? Just fonts? Can you bring in Logos from Illustrator?
A.) You can bring any Photoshop files but not sure as an EPS
file. We dont have Illustrator on this Mac but I imagine it might
be able to handle it. I'll see when I get back to the office.
Q.) Using my Aurora Film Card there has
been this nagging bug for quite awhile where by when capturing
telecined material (29.97) Final Cut converts it to 24 frame
format making it almost impossible to recapture your 29.97 masters.
Has this been addressed?
A.) We are still working with third parties on alot of those
issues. Right now I can not say complete if it has been solved.
There is added support in 4. You can bring up the modify timecode
window which basically allows different frame rates to be applied
to clips. Definitely we are aware of this issue.
Q.) Will FCP 4 support TimeCode OUT?
(Brian then brought up the new Item Properties
dialogue window which now allows you to view SEVERAL clips together
in one window. Properties that are different than one another
are in BOLD. Very handy for quickly identifying differences in
Q.) Any change in Apple's position with
FW drives and FCP?
A.) Thats a tough one. We are paying close attention to the new
FW800 drives and we realize many of the FW 400 drives work for
many people but we also acknowledge all drives are not equal
as are all projects not equal. The faster the CPU and better
the drive is a fairly good combination. We believe strongly that
you ask around and get support from those that are using them
for projects that are or might be as simple or as complicated
as yours and then decide. We are hoping that with the new RT
Extreme and new FW 800 drives this question can be answered definitively
in the near future.
Q.) When will FCP 4 ship?
Thats it folks. Last question.
What a night and what a performance by
Brian and Paul who easily can take this act on the road to sell
out crowds through out the world. If they do, buy your tickets
On a personal note, three years ago this
June, 43 of us met over at Video Symphony in Burbank to look
at FCP version 1.2.5 and talk about forming a user group. Tonight
there was over 800 of us looking over FCP 4. Ken Stone, Ramy
Katrib and myself reminisced a bit tonight. Sure, lafcpug has
grown over these past three years but in comparison to where
Final Cut Pro is today, we are but mere toddlers.
Congratulations to the FCP team for all
there hard work and we look forward to June, 2003 when we can
finally get our hands on FCP v4.
World Famous Raffle was up next and lafcpug thanks the
generous people and companies who donated to the cause
2 FCP Keyboard Keycharts
2 Royalty Free Stock Footage
CDs - ThinkStock
ShuttlePro - Countour
3 Color Correction for FCP
Text Anarchy - Digital
PowerStart Guide - Dv Creators
Secrets of Final Cut Pro - Dv
120 GB Firewire Drive- Promax
5 $20.00 Gift Certificates - Poquito Mas Restaurants (Hey, we gotta eat)
DV Companion for FCP 3 - Intelligent
Effects for Final Cut Pro - Intelligent
DVD Companion Pro Pack -
Various books - CMP
one copy of Final Draft
1 T-shirt - kenstone.net
2 copies of lafcpug DVDs - lafcpug
Special thanks must go to Chris Horgan
and Ross Jones,
for taking tickets and there were a lot of tickets to be taken.
Ken stone for
taking pics. Dan Brockett
and Matthew Lawton
for taping the show for the DVD, Mark
Havener for doing the lights and of course Promax for footing the bill.