Articles from: July 2009

Final Cut Pro 7…finally

finalcut_studioWell, it seems that on the heels of Avid’s recent award by the Amercian Editor’s Association   Apple has released it’s new NLE system with a proposed large addition of codec’s and workflow upgrades.  FCP has generally faired well on the market grabbing an apparent 50% of the share of systems used, but it has always been regarded as a second tier editing platform to the majority of big wig editors and studio’s, who seemingly prefer Avid.  Apple isn’t giving up, and really why should they with the split on the market share what it is, so here come Final Cut 7.

One of the biggest upgrades will be to Apple’s ProRez codec, which was much needed in my opinion.  Apparently Apple added a ProRes 444 format at the high-end for compositing, effects, and digital cinema work.  Among other additions there is also improved XML metadata support for footage that is round-tripped through third-party software, which I’ll believe when I see it, as well as proper 4k support.  FCP7 will be packaged with Studio3 so of course Motion has it’s upgrades as well, the most drastic being the ability to support three-dimensional effects, including 3D shadows and reflections, depth-of-field control, and individual glyph adjustments.  Color & Soundtrack were given upgrades but nothing dramatic other than “isn’t this neat…” type fuctions, although Color now supports 4K cameras which is a plus.  And for the love of God, I won’t even bother discussing Compressor which has to be Apple’s worst attempt at conversion software.  The only possible upgrade to that program would be to ride the DeLorean back in time to when Apple was in pre-conception for it and eliminate all the headshrinkers involved.

Although all of this hasn’t hit the stores yet, when it does i’ll be eager to get my hands on the full FCPS3 to see what it can do.  I don’t expect much from Motion, never have,  After Effects still holds the consumer roost when it comes to most anything involving motion graphics.  Motion has always been used for simple, yet effective, CG’s that don’t need a lot of twindling or specific assets, but FC7 could  finally be what Apple’s been looking for to put them over that professional hump.

Avid… yes, still the King of NLE

avidWhile FCP seems to be really trying to push the competition, and further becoming the clear choice with medium and small post production facilities, Avid still seems to be the the king of the hill.  Recently the American Cinema Editors (ACE) Board honored Avid Media Composer with Its First-Ever “ACE Technical Excellence Award”.  The ACE Board of Directors has recognized AMC software with the Board’s first-ever “ACE Technical Excellence Award” – recognizing it as the preferred choice of the industry’s most acclaimed editors.   And that’s not all. 

Avid also seems to win big at the Oscars as well.  Most every year dating back as long as 10 years all of the nominees for Best Picture, Directing, Documentary Feature, Original Score, Film Editing, Visual Effects, Sound Mixing and Sound Editing used either Avid, Digidesign, Sibelius or Softimage, all happen to be Avid-owned companies.  Why is Avid so popular at the  Academy Awards?  Christopher Rouse, winner of Best Editing ( Bourne Ultimatum) said “An Avid system is far and away the most comfortable tool for me to work with,” notes Rouse. “There are zero barriers between me and the material. That, for me, makes all the difference.”  These comments along with the most recognized films and their editors including the recent Slum Dog Millionare show that Avid continues to make it’s presence felt.  Apple clearly seems to have it’s work cut out for it if it wants to make some be recognized as a serious platform with the industries top players but make no mistake, some, albet a few, have started to make the switch including David Fincher who rained praises on FCP which was used to cut both Zodiac and his Oscar nominated Curious Case.

Only time will tell but for now, Avid still seems to hold the keys to the castle.

“Hollywood North”… not

bad filmWow, what a unbelievably rotten production industry this city has, and to think that just a few years back Toronto was called “Hollywood North”. Now we’re so desperate for the buisness that we’d suck a fart out of Hollywood’s ass and hold it in like a bong just to get a measily after-school special with Lou Diamond Philips.  How exactly did this happen?  There was a point when we were getting so much buisness it was pissing America off.  Whatever the blame is, people are recognizing the situation and heading south.