How FCP X will really matter to India

I bought and downloaded FCP X the day it was launched. And now I'm reading the manual and watching training videos to get the 'funda behind' FCP X. It's taking time because FCP X is a whole new app. It does a whole new set of things in totally new ways. Its almost like how I made the transition from Steenbeck to linear tape editing to editing on a computer (first Avid, then FCP)

My preliminary observation is that FCP X is meant for the 'new editor'. The person who will shoot a movie on a tapeless camera. Someone who finds bins, sequences, master clips and their tenuous  connections very hard to fathom. Who doesn't bother with Easy setups, settings and all those 'pro features'. I come across many such because they call or write me with some rather basic questions.

So FCP X is for that newcomer who needs to quickly and easily put together an edit and output it to a modern distribution format like web video, DVD, Blu-ray or a variety of file formats. Such a user probably doesn't even know or care about what a DigiBeta or HDCamSR is.

And such users are in the millions, while the pros are only in the thousands. These 'new age pros' make documentaries, corporate films, AVs, small commercials, news capsules, even wedding videos. Some of them are really accomplished film-makers or directors who have no time or patience to learn the intricacies of editing on a computer. But they do have editing sense. And have gotten sick of waiting upon 'pro editors' and their fusses about systems hanging and crashing and all the jargon.

But as I ponder on the impact of FCP X on large post facilities and workflows in India, and particularly in Mumbai here is how it breaks down.

FCP X can not capture from, or output to tape, so all our DigiBeta and Beta based workflows which form a major part of advertising and TV in India, cannot work with FCP X. But you can edit an ad film if it was shot tapeless and you're OK with mastering out of FCP as a file.

FCP X does not have the 24@25 film edit workflow that FCP 7 and earlier versions do, so you can't edit a feature film, shot on film and needing a cut list or EDL on FCP X. But you can edit a feature that's not shot on film and does not need an EDL or cut list.

FCP X cannot make an EDL, so if your workflow involves going to Smoke/eQ etc via an EDL, then you can't use FCP X. Not even XML is possible. With the addition of a $ 500 plug-in from Automatic duck you can make an AAF from an FCP X timeline if you're really desperate.

FCP X does not (yet) support capture cards like Blackmagic or Aja, but that will change soon.

Apple has a FCP X FAQ up at their site explaining some of the changes in FCP X.

http://www.apple.com/finalcutpro/faq/ 

But how much of an impact is all this to post and TV in Mumbai? India and Mumbai are somewhat of a 'special case' as far as FCP is concerned. Here's how...

I went over to a large post house in Bandra. There, out of 7 FCPs, 5 were FCP 6 (not even FCP 7), and two were FCP 7. The two FCP 7 licenses were not purchased, but…

Then, over to Khar where another international post house has about 3 FCPs and many more Avids. The FCPs here were some on G5 systems, and some on Intel. They also have a 'broadcast division' and some asset management thing with as many as 16 FCP systems. As far as I know none of these FCP licenses are purchased, but…

At a TV channel in Andheri East, there are 21 FCPs for internal channel work. This is largely tapeless. so maybe they can use FCP X. But their 21 FCPs licenses are not purchased (at least that's how it was when installed, maybe they've gone and got licences now) so even they are probably on 'free FCP'.

At a TV channel at Malad, they have 20+ FCPs all licenses purchased. Their VP told me that they are watching FCP X closely. Maybe at a future date I may go over and do a small workshop on how FCP X works out for broadcasting. I believe it does.

At the hundreds of 'hole in the wall' small studios at Andheri's Adarsh Nagar and Aram Nagar, I've not come across too many FCP boxes. In fact many post houses here don't even know FCP comes in a box. The Apple dealer usually 'bundles' FCP with the MacPro purchase.

Apple in India usually turns a blind eye to this and emails to their Sales heads normally don't elicit any response. Apple sells a system anyway, so what if the software isn't exactly paid for. 

So, what impact can FCP X have to a land where tape still rules, where film editing is still SD based, and FCP software is totally free for many if not most users?

In the near term, for institutional customers, the impact of FCP X will be practically nil. They will persist with FCP 7 for 1-2 years more till their existing hardware breaks down and new hardware doesn't support FCP 7. 

After introducing FCP X, Apple discontinued selling FCP 7. This doesn't matter to India one bit as most resellers and customers are stocked up with FCP serial numbers. And FCP 7 disk images are very easy to come by. So FCP 7 will be available in India approximately forever.

But over the next few months, individual film-makers will go out and get MacBook Pros and iMacs, and use FCP X by themselves. They will turn out good looking movies. As FCP X does some really advanced colour correction, and handles defects like camera shake, and adds pretty advanced effects quite easily. 

These individuals will quickly find out that if they apply themselves to learning the reasonably easy interface, they probably need not go to finish their movies in Smoke or eQ or Resolve. And so will emerge the new film-maker, armed with a machine, a software and a will to excel. That's how far I think FCP X will go.

As for Apple, where they sold probably (by my wild guess) only about 1 FCP license per 10 Mac system (sold for editing) In India, they will now sell one FCP per machine sold since FCP X is really hard to pirate. In any case at $ 300 Apple is not likely to bother with FCP X piracy when they didn't bother when FCP 6 or 7 at $ 1000 - $1200 was brazenly pirated.

Some users will crib and turn to Adobe Premiere or Avid Media Composer, both easily available 'for free' in India. Then they'll find that these are also complicated and not without their own shortcomings. So if you've got to learn something new, why not learn FCP X.

By the way if anyone in India had to really choose between paying... 

FCP X for Rs 13,000, or FCP 7 for Rs 55,000, or Adobe Premiere for Rs 85,000, or Avid Media Composer for Rs 1,40,000, and if that person wasn't a 'pro' who had some definite affinity to any of these, then its clear to see which one will come out on top as far as sales numbers go.

So that's the impact of FCP X in India. Largely 'free users', old arcane workflows, not-so-new machines, will skip FCP X. And a new breed of movie enthusiasts will embrace FCP X and drive the aforementioned 'pros' out of business. Wait and see.

FCP X !!!

When you launch FCP X it says FCP 10.0 So it is ver. 10

And after it launches which is rather fast, by the way, you get a first look at the interface.

So...

Lots to learn. Lots to figure out. Need more time.

Check my earlier posts for more info and some other's reactions.

Getting FCP X

I've bought it already and its getting downloaded as I write. Along with Motion and Compressor.
Till then, here are some first reactions by  experts...


Steve Martin's first look
Gary Adcock's first look
Larry Jordan's reaction


My copy is nearly here...

Final Cut Pro X released!

One of the most discussed, slammed, hotly debated, praised but still, most eagerly awaited version of Apple Final Cut Pro, or FCP, was released just a few hours ago. About 6 pm out time. Larry Jordan's newsletter said 5.30 am. I take that to be PST.
Some important differences from the past...
FCP X will be available as an online purchase on the App Store for $ 299
Motion is $ 49, and Compressor is $ 49.
There is no mention of Color, DVD Studio Pro, or Soundtrack Pro. But from reading the specs it appears that some features of all these are rolled into FCP. I can't say for certain which features are in and which are out till I use FCP X. 
There is also no mention of Cinema Tools, or of 24fps editing (24@25) in PAL. So, maybe this feature along with Keycode support for film editing has been dropped.
There is no capture from tape except DV, DVCam, DVCPro over Firewire, and that to only capture now. So if tape is still in your life you need to use Aja's VTR XChange tool or Blackmagic Media Express, both of which are rather capable compared to Apple's Log and Capture tool.

There is no export to EDL, no OMF, no XML. But Apple is likely to get the XML export sorted out.

So, should you or should you not get FCP X?
If you're in the middle of a project on FCP 6 or 7, no. If you don't want to learn a whole new interface, then also no. If your work needs capture form tape or output to tape, then too, no.

If you are editing a feature film shot on 16mm or 35mm, and need EDLs, can cut lists, then forget about FCP X. Not now, probably not ever. You're stuck to FCP 7 for an indefinite period, or till you don't need cut lists or EDLs, whichever comes sooner.

But, if you work with stuff shot on Canon 5D/7D, XDCamEx, AVCHD, AVC Intra, P2 and some other formats, then FCP X offers a vastly simpler workflow than FCP 6 or 7. Direct working with these formats. Background proxy generation, no rendering needed etc etc.

I'm about to take the leap and get FCP X as soon as I can download the GBs needed. I will report as soon as I have more info. Until then, keep checking this space.

More info on FCP X

The original press release is here...

The complete list of features is here...

Philip Hodgetts has an excellent list of fundas 
here...

For any queries please write me at 
neil (at) sadwelkar (dot) com
Replace (at) and (dot) with you know what. And please, no spaces.

Struggling with digital movie-making

For the past few months I've been working on setting up and executing a simple and efficient workflow for the post of a delightful little movie called 'Stanley ka Dabba'. This movie was shot entirely on a Canon 7D DSLR camera. I've posted many a post of still cameras that shoot videos right here... 

The Canon 7D DSLR camera shoots beautiful and natural stills. And the same sensor shoots HD video. These are saved on CF cards. As Quicktime movies encoded H.264 with PCM audio.

But there are two major problems. One is, the Canon 7D shoots 23.976 fps, not true 24 fps that film in theaters runs at. And the other is that the files have no timecode (TC in short) or reel/source associated with them. HD movie files out of a Canon are called MVI_xxxx where xxxx is a number serially added by the camera.

So what happens is that after one finishes the edit, and needs to send it for further post, like colour correction, VFX etc, there is no EDL based route to sending the edit data onward.

For 'Stanley ka Dabba', I had devised a workflow where I converted the files from 23.98 to 24fps without any frame loss or motion conversion. I then striped all the files with timecode with one following the next, sort of like they were captured off tape. And I assigned a reel name or source for all the files as per the folder they resided in. 

Deepa Bhatia, the editor and co-producer of 'Stanley ka Dabba' edited on an Avid Media Composer, I made ALE files for her assistants to import into a bin and then batch imported the original (striped with TC) files from the Canon. That way Avid also 'gets' the TC from the Canon files.

After Deepa's edit, the colour correction happened at Reliance MediaWorks. On the Baselight at Reliance, the Avid EDLs that Deepa made out, perfectly conformed the original Canon files and they were on their way to colour grading within minutes. There was no struggle whatsoever.

So what's with the title of this post? 'Struggling with digital movie-making'. Here's what...

On the same day as 'Stanley ka Dabba' was released, there was another movie released, a horror movie about text messages. This too was shot (partly or entirely) on a Canon DSLR. But they chose to do their post in a different way. They directly imported the Canon files into Avid Media Composer to edit them. No 24fps, no TC.

Long story short, that movie had to be re-assembled manually shot by shot, eye-matched on an Autodesk Smoke system. The post facility concerned, simply couldn't fathom a correct method for reproducing the original edit.

Similarly, there are other post houses which have yet another interesting workflow for Canon files. They advocate (or so I am told by clients who've been there) first transferring all the Canon 7D files to HDCam tape (eeks 3:1:1 colour sampling) or HDCamSR tape. 

In a period of nearly extinct and horrendously expensive HDCamSR tapes (after the Japan tsunami-earthquake), this isn't a rather bright suggestion.

I'm getting a bit snarky and sarcastic about all this because, as an editor it bothers me no end that people with no desire to find out new solutions, have such a say in the way post-production is (man)handled.

There are also other struggles and horror stories - with Alexa files, bad colour space conversions, loss of timecode, Red R3D file conversions that take days to get done, Weisscam files that just don't open and many such 'Adventures of a digital rebel'.

In my opinion 'Stanley ka Dabba showed that if one has a story with a heart, a positive attitude, and the ability to take a calculated risk in doing something for the first time, then there is a medium that's waiting to help you tell your story. There are challenges for sure, and shooting Canon is not exactly simple.

So just go to a theatre near you where 'Stanley' is showing, and take a look for yourself. Cinematographers and even DOPs (are they different?) will of course find issues with latitude, resolution, gamma, etc etc. 

But you know what. With some 'careful' lighting it is entirely possible to make even 35mm film look flat. And some 'adventurous' DI colour correction can easily make film look synthetic and 'inorganic' too.

About operations on the Canon 7D, not being able to pull focus or aperture, no optical viewfinder (for video), and other whines from movie film cinematographers. I got an interesting insight at a fashion show a few weeks ago at the Leela. 

At the head of the ramp during the show, there were photographers taking stills on their DSLRs. How do they focus, without a tape measure, with the artist walking toward them with no 'mark' to stop on, no rehearsal 'for movement'. And stills photographers have to take a frozen moment, so going out of focus is also out of the question. 
And with the light at fashion shows they are often shooting at wide apertures, so depth of field is shallow.

Bottom line. Digital 'movie-making' is on it way to replacing the term 'film-making'. These are early days, of course. Those who forge ahead are the positive ones with guts. The rest will whine and sigh and hang on to film with a naive hope that digital is a fad that will go away and one day we will all go back to film. 

As far as post production is concerned - editing, colour correction, sound editing and mixing - most of this is digital for a decade or more. Doing post on digital is no more complex than post for film - managing logs, key codes, cut lists, pull lists, making cement joints, Hamman joints, winding and rewinding film on a winder - I'm glad we got rid of all that.

 

 

Movieola, Steenbeck, Hamman splicer... digital is vastly simpler than working on these

Red One, Red MX, Epic, Alexa, Canon 5D/7D, AVCHD, XDCamEx, HDCamSR, Viper, D-21, Genesis, ArriRAW, Canon MPEG2 422, AVC-Intra, P2, XDCamHD, Varicam, DVCProHD, KiPro, Gemini, Hyperdeck, Nanoflash, GoPro... the list goes on...

There are a large number of resources and personal experiences for each of these. Forums, blogs, web zines are oozing with information. And simple common sense, along with some basic knowledge of how computers work and store data, also helps. For my part, I've worked hard to be ready for each and every one of these new digital formats. 

Store, Copy, Convert, Edit, colour grade, finish, backup, archive, re-purpose into new formats... the whole nine yards. 
So digital doesn't have to be struggle, unless you try hard, do the wrong things, or go to the wrong places.

Final Cut Pro X aka FCP 8

A few minutes ago, at the FCPUG Supermeet, Apple representatives unveiled the new Final Cut Pro, called Final Cut Pro X or FCP X. Details are still coming in as the event is still under way. But the highlights so far...

New interface, quite different

No rendering

All formats native

Enhancements for editing ease

Ease of use for sound

Peaks in timeline

Keyframing done differently

Will detect image volume - CU, MCU, MS, LS etc

Auto colour correction

Many more, will report as I study them

Will be available June 2011

At the App Store for US$ 299

NAB 2011 - Day 1

NAB 2011 has officially begun. Form the post production, editing, and finishing point of view some of the leading events were...

Baselight showed their Baselight plug-in for FCP. Editors can now grade their shots within FCP itself. In place of effects controls you see the black/grey Baselight interface with its distinctive controls. What you grade can be rendered and output. So you can say, "I'm grading on Baselight". You can also export your grade as an XML to import into a real Baselight on Linux and finish it there.
Baselight plug-in for FCP will be available in a few months for under $ 1000.

Baselight also showed a new and improved grading panel - the Blackboard 2.

Resolve unveiled an update - Resolve 8. This has a multi-layer timeline, just like any editing system. Resolve now imports XMLs and builds timelines without having to import material into it's 'media pool'. It supports OpenCL, so systems like the new MacBook Pro or iMac that don't have Nvidia CUDA graphics, you can still use Resolve. Resolve 8 is free for existing users, and will cost $995 for new users, available June.

And a free version of Resolve called Resolve lite that has the Resolve interface with some limitations on nodes and GPU power. I think this will be the on set tool for most digital workflows in India. 

Free is also a smart move as most Indians feel shy to buy software. Even large post houses with offices in Hollywood often do their software shopping at the 'Torrent Mall'.

Avid showed a new version of Media Composer ver 5.5 which allows capture and output via third party hardware, currently only the Aja IO Express.
Avid also offered a FCP cross-grade. Meaning if you have an existing FCP version, you can hand that in and take a MediaComposer software for only $ 995. About Rs 45,000 for an entire Avid... software, of course.

Sony showed a 4k camera... finally. The F65 CineAlta. And they showed a short film shot on this camera at 4k.
And many more new products. Memory based recorders, OLED monitors, and of course, 3D cameras.

Blackmagic showed a Decklink 4k which can play and record 4k over 4 SDI inputs.
I have a feeling we will see more of this with the new FCP whenever its shown (like tomorrow;-). Because otherwise, there's no real use of 4k, as FCP doesn't support it yet.
Blackmagic also unveiled a range of cards and products. Including one interface that works on Thunderbolt. I'm sure there are more in the pipeline.
And there are a couple of HD uncompressed recorders for high quality 4:2:2 HD recordings over HD-SDI or HDMI. With embedded audio. These look interesting even for studio use.

Aja released a 4k mode for the Kona 4 using 4 SDI outs to play back full 4k.

Aja also announced Thunderbolt support for an upcoming product called 'Phaser'

Assimilate announced a Scratch for Mac for $ 18,000 and an on set Digital lab for conversions, preview and other processing on set. $ 5000.

Telestream made announcements on new products. Notable among them being ProRes encoding on their PC products. And enhanced RS-422 support for their Pipeline products. So you can implement a 'Virtual VTR' with a Pipeline and any Mac, even an iMac.

Matrox announced Thunderbolt support for their MXO devices. These are currently connected to systems over ExpressCard or PCIe. What's surprising is that the announcement refers to what appears to be backward compatibility with existing MXO devices using "Matrox Thunderbolt adapters for all MXO2 devices can be purchased as an add-on at $299 US (£199, €249)".

Lots more to come.

NAB 2011 - preview

NAB starts off in las Vegas in a few hours, at about 9.30 pm India time. The exhibition runs Apr 11-14. And like in previous years, new systems, software updates, 3D, more 3D and possibly some revolutionary stuff is expected.


For those who couldn't make it, a visit to the main NAB web site gives you details and movies that show the show.


In the run up, over the past week or so, some of the highlights and trends to follow...


new FCP announcement expected at 7 pm on Tuesday at the FCPUG Supermeet at Bally's.
Baselight plug-in for FCP that lets you grade Baselight style but inside FCP and send your grades via XML to a real baselight.
Colorfront onset dailies system
Canon and Technicolor will show a color management system for Canon HDSLRs
Adobe CS 5.5 with exciting developments HDSLR workflows
Thunderbolt support will be in many places for sure - Matrox for one
Some new systems (maybe) or announcements from Aja and Blackmagic


Other companies to watch out for
Editshare, Atto, Marquis, SGO Mistika, Quantel, Autodesk, Dolby...


and lots more. I'll relay stuff as I see it, hopefully on a daily basis.

Memory cards for Canon 5D/7D shoots

For Canon 5D or 7D shoots, for ad films, music videos, promos, or features, people go into long discussions and arguments about disk storage, RAID etc etc. I have always advocated getting as many memory cards as you plan on shooting. And not erasing and reusing any card, till the shoot is over. Even after transferring the card contents to hard disk for editing and post-production.
That way, one has the data available all the time on the original cards, even if any hard disks fail.

But people tell me that this costs quite a lot. I decided to find out.

First, let's see what media would cost before HDSLRs happened to film-making.

400 feet of film costs about Rs 10,000, and runs about 4 mins, so film is Rs 2500 per minute.

With a shoot ratio of 1:10, a standard Hindi film of 150 mins would shoot 1500 mins of film. This amounts to about 340 rolls of 35mm film or Rs 34 lakhs in film costs alone. Processing extra.

A 40 min HDCam SR tape is about Rs 10,000. So for the same 150 min feature, even at a shoot ration of 1:20 (people tend to shoot more with tape than film). One would use 75 tapes of Rs 7.5 lakhs on tape. And one doesn't erase and reuse tapes even after they are transferred to the edit system.

Now, on to HDSLRs (Canon 5D or 7D)

On a Canon 5D or 7D CF cards are used up at about 3 min per Gb. So, if one shot an entire feature of 150 mins, even at a shooting ratio of 1:30, and shot on 8 GB CF cards, one would use up about 190 CF cards.

        

At jjmehta.com online store, 
http://www.jjmehta.com/webshop/index.html?target=dept_19.html&lang=en-us
an 8 GB CF Ultra 200x card sells for Rs 2000. So, if one did not reuse cards, and shot to about 200 cards or 'exposed' 80 hours of video on a Canon 5D/7D, one would spend Rs 4 lakhs.

Rs 34 lakhs for 25 hrs of film, or
Rs 7.5 lakhs for 50 hrs of HD tape, or 
Rs 4 lakhs for 80 hrs of Canon HD video. 


I think its clear CF cards, as a medium, are way cheaper than HD tape or film. And if one does not erase and use the costlier film or HD tape, what reason is there to erase CF cards that cost 1/30th what film costs.

Come to think of it, if you shot with a Canon exactly like film at a shoot ratio of 1:10, you would need only about 63 cards or spend about Rs 1.25 lakhs on 'rawstock'.

So, I don't get the reason for reusing CF cards. Reuse them after the film is released and you've consolidated all your media, but please, stop shooting an entire feature with 2 CF cards erased and used 30-100 times over.

Autodesk 2012

Last week, Autodesk released new versions of their Digital Entertainment Creation software line. These are now suffixed 2012, to mean the year 2012. But the software will be available in 2011.

New software released are

in the Animation Solutions line-up, 3ds Max 2012, Softimage 2012, Mudbox 2012, Maya 2012, MotionBuilder 2012 and

in the Creative Finishing Solutions, Flame 2012, Flare 2012, Smoke Mac OSX 2012, Flame Premium 2012, and Lustre 2012

Significantly, all of Autodesk's Creative Finishing Solutions and Animation Solutions software are receiving a refresh at the same time. This is probably the first time this has happened so maybe they have managed to integrate all these groups to work together.

Also significantly, there is no mention of Flint, Fire, or Inferno. So maybe, just maybe, we won't see any more refreshes of these software packages which formed part of IFFFS which ruled in the two decades past.

And, if you see the releases listed on the official Autodesk page linked below, you won't see any Smoke 2012, just Smoke for Mac OSX 2012. If that's true, you can no longer get a Smoke on Linux on its own. You have to get the Flame Premium suite which contains Smoke, Flame and Lustre.

I haven't studied the new features in great detail, primarily because I couldn't readily find a document that details this. But from a cursory study at other sites, it seems that for Smoke on Mac OSX, there are improvements in 3D capabilities.

There doesn't seem to be a specific Smoke 2012 hardware list. They still have the 2011 list on. The only video I/O card supported is still the Aja Kona 3. No support yet for Blackmagic cards. So maybe, there's some new hardware expected that will make this list. Something from Aja, or Blackmagic after all.

As for graphic cards, for Smoke 2011 not one out of Quadro 4000, Quadro FX4800, FX5600, and FX 4500 was completely certified in the 2011 list. The closest is Quadro FX5600 which is 'Supported although not officially Certified in our lab'.

Let's hope Smoke for Mac OSX has wider Autodesk blessed support for graphic cards on Mac OSX.

On the Autodesk online store page Smoke is still listed as Smoke 2011 available online for US$ 16,990 with subscription and US$ 14,995 without. Wonder if Smoke 2012 has a different pricing.

The official Autodesk page is here…

http://usa.autodesk.com/adsk/servlet/item?id=12410802&siteID=123112

There is an in-depth analysis over at FXGuide.com here…

http://www.fxguide.com/featured/autodesk-2012-software-releases/