Briefing for professionals in London by Apple

Was there anything on what Matrox is working on? Or are we just toast! They keep deleting messages left on their forum that have anything to do with FCP X questions.

I have to tell you, I'm not feeling the love

Alex, does this mean AJA app operates inside FCPX or one points to the Event folder containing media? Not that you'd know but it's not clear how a separate app interacts with the Event folder. I'm curious about tape layback. That's major especially for those that need to deliver HDCAM for broadcast. This brings up issues about timecode support of course given one wants program to start at a frame accurate timecode.

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Mike Horton
So London gets the world premiere of X at the SuperMeet and now gets all this info first. What is it with London? I'm moving there.

I know, right? And Vegas gets the "BIG GAMBLE" announcement (ironic, ain't it??). The Post Productions Gods love England...so do I. Let's go.

When life gives you dilemmas...make dilemmanade.

Russ Blaise Wrote:
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> Was there anything on what Matrox is working on?
> Or are we just toast! They keep deleting messages
> left on their forum that have anything to do with
> FCP X questions.
>
> I have to tell you, I'm not feeling the love

I'm a Matrox beta tester MXO2-LE but I don't think I can say anything beyond that.

grafixjoe Wrote:
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> > So London gets the world premiere of X at the
> SuperMeet and now gets all this info first. What
> is it with London? I'm moving there.
>
>
> I know, right? And Vegas gets the "BIG GAMBLE"
> announcement (ironic, ain't it??). The Post
> Productions Gods love England...so do I. Let's go.

You're such an FCPX fanboy!

I suppose the only way AJA could do it is to put the new files into the 'Original Media' folder (or aliases if the user requests) of a chosen (or new) Final Cut Event folder. They would then need a way of adding the required information to the .fcpevent SQLite database. That's the API Apple say they'll introduce in the coming weeks.

Given that the Share menu seems to be about laying off output of the current project to internal and external tools, I imagine layback apps will monitor a directory and wait for FCP X to package a request for output.

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com + .com

Quote
I'm a Matrox beta tester MXO2-LE but I don't think I can say anything beyond that.

Then could you just tell me if I'll be feeling the love soon

Russ Blaise Wrote:
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> >
> Then could you just tell me if I'll be feeling the
> love soon

I need a deck with RS422 control. When the time comes if someone in NYC area has a deck and is willing to help me test . . . I'd probably have to blind fold them though.

Quote
craig seeman
You're such an FCPX fanboy!

I'm a "get my honking schedule of work done using the most efficient tools available with the least amount of workarounds and FCP X isn't there yet for me" Fanboy

When life gives you dilemmas...make dilemmanade.

Okay, it's official. Your Matrox MXO2 is now a paper weight if you what to use it for external monitoring with FCP X.

[heathmcknight.com]

[www.philiphodgetts.com]

I love this part:

"FCP X does not support professional video monitoring. For full-screen, preview-quality output you can use the second DisplayPort output from your computer in Full Screen Mode. The audio outputs of the MXO2 devices can be used for audio monitoring."

What's funny is that I just made my last monthly payment on my Matrox unit. I know this is not the fault of Matrox. But this news makes me want to move over to Adobe PP.

Quote
Alex
4. FCPX AJA plugins coming soon for tape capture and layback?capture straight into FCPX events. Will not be a plugin but an AJA application.

I got a notification from a German forum which says that AJA Support currently have no idea how to make video monitoring possible with FCPX and they are waiting for Apple.

Andreas

I was wondering how AJA and blackmagic were going to pull off external monitoring and Matrox says pretty much, It can't be done.

Philip Hodgetts has some interesting ideas about the issues around broadcast monitoring in FCPX.

His thoughts on the issue.
[www.philiphodgetts.com]

This post Matrox announcement.
[www.philiphodgetts.com]

My favorite is the AirPlay idea. Almost made me spit out my coffee I laughed so hard. Not sure if that's in either of the threads you pointed out, but I read it on his site.

I also noticed that he seems to equate "critical color monitoring" with color correction suites only. ALL edit suites should have a critical color monitor. In fact I mentioned that in one of his threads come to think of it and forgot to go back and respond.

Let's say you don't have a proper video signal going out to a properly calibrated broadcast monitor. So you work with your client editing the project and now it's done. So you XML your project to a Resolve artist or even an Apple Color artist. They do their thing and send it back to you and you review with your client.

Client questions the look on several shots or maybe the entire project overall. Hmmm. Are they questioning the look that the color artist created or how it looks on your monitor? Do they need to go to wherever that Color artist is and watch the project on their monitor? What if the artist is across town, across state or across the country?

So without a properly calibrated critical color monitor in your edit suite, you have no way to know for sure what the image is supposed to look like.

In my shop, we have Flanders Scientific monitors in every edit suite and we run Apple Color, Colorista, and even use the Apple 3Way CC in every room to color correct. We also have a color correction suite with a Flanders Scientific with Davinci Resolve. We also send some projects out to local color artists who work at home or in other shops with Sony broadcast and FSI broadcast monitors.

I can look at a final project in any of my edit suites and know that the colors will match up to what the original artist did, whether it was one of us or someone from the outside. All our monitors are properly calibrated and will display the colors and brightness as they did in the original color suite.

This is why having proper video signal provided from the NLE is so important. It's not just whether or not you're going to "color correct / color grade" in that particular suite, it's when you look at the final product, are you seeing what you are actually going to deliver?

Walter Biscardi, Jr.
Biscardi Creative Media
biscardicreative.com

I do see a workaround for this although it's a bit kludgy.
The video I/O cards have the ability to send to a broadcast monitor. One might be able to export and use the playback features provided in such cards.

It's kludgy though if you actually have to make changes in any shots as a result because you can't accurately monitor as you make the change. I think the "argument" is that one can calibrate a computer monitor to Rec.709 but it's not quite the same thing of course.

It certainly will be interesting to see where this goes/how it's solved.

Broadcast critical monitoring is not limited to "high end" either. While some might argue a very small portion of FCP users do episodic tv, when you add in reality tv, regional and local cable spots, the need for it is much broader. Even when doing local cable spots, clients what assurance that their branding colors, graphics etc, be an exact match. Even the "indy" film producer, who's film might end up going direct to disc or wind up on some lower tier cable channel, may need it.

Michael Horton Wrote:
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> What is it with London? I'm moving there.
>
>

Here is some more info about London:
- Gas is $9 per Gallon.
- The sun only shines above the clouds.
- There is no beach with (silicon) beach babes.
- There are 10,524 cameras in London, watching you all day long.
- There is no Hollywood in London.
- You have to drive on the left side of the street with cars where the steering wheel is on the right side.
- You are required by law to admire the queen and cheer for the royals.

:-)

--
Christoph Vonrhein
[www.chv-plugins.com]

Christoph Vonrhein Wrote:
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> - You are required by law to admire the queen and
> cheer for the royals.

There may be an ancient law that states that (like the one that says it's legal to shoot a Scotsman on a Sunday), but if there is, it's out of date and no longer enforced. You're free to make fun of the Royal Family and many people do.

My software:
Pro Maintenance Tools - Tools to keep Final Cut Studio, Final Cut Pro X, Avid Media Composer and Adobe Premiere Pro running smoothly and fix problems when they arise
Pro Media Tools - Edit QuickTime chapters and metadata, detect gamma shifts, edit markers, watch renders and more
More tools...

Christoph Vonrhein Wrote:
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> - The sun only shines above the clouds.


Christoph,

I have to disagree with you here- this is only a theory, as we have never sent a probe up above the London clouds to find out whats actually there, we only assume there's a Sun above the London Clouds!

Graeme

When I was I'm London last week I flew over the clouds and I swear I saw the sun. Really. Course I was high on Tylenol

Michael Horton
-------------------

There's only ONE Hollywood Christoph. There is a HUGE film & video business there though.

When life gives you dilemmas...make dilemmanade.