FCPX–Cutting a Live Show Using the Multi-cam Editor

Just saw this short clip showing a sample of cutting a live show (cameras still recording) in the multi-cam editor in FCPX on a Mac Pro.

It’s a 4-camera sample and the live recordings are happening at the same time on the same Mac Pro whilst the shots are switched live in the multi-cam editor. I don’t see why it wouldn’t work for 6,9 or 12 cameras.

https://www.youtube.com/watch?v=-WuJotQsB7Y&feature=youtu.be

Boris FX Filter Package Giveaway

Boris (1) Features: 21 Filters & 300+ Presets • Stagelights, Spotlights & Volumetrics • 3D Lens Flares & Sweeps • Glitters, Glares & Glints  • Cross-host License Compatibility:  Adobe After Effects, Premiere Pro, Avid Media Composer, FCP X (Motion 5), Resolve, Sony Vegas Pro Operating Systems:  MAC OS-X, Windows Note: Go through the entire ordering process.

With the coupon code entered ‘bcclights’ just before hitting ‘submit order’ the price will change from $299 to $0. Valid until 31 July 2015. http://www.borisfx.com/store/products/continuum-units/lights/

Here’s another link for the same: http://us6.campaign-archive1.com/?u=067f5a758fc7da9813d25d913&id=1f0ee7e88c&e=38a1b4f538

Some have replied to the first one saying “it doesn’t work”. It will work. If you’re not a current Boris FX customer and don’t have a login you do have to register. And you do have to fill in everything, including card details. The coupon window will be there the whole time, but the ONLY time it matters is after all other details are entered. You then enter the code and then hit submit. The price will change to $0 and where your card details were entered it will say (to the effect), “payment details not required”.

I received my download link and have downloaded and installed. So don’t worry. All they’re getting out of this is your email address and your details so that–if you want–you can easily order and pay for anything else in the future.

Deal for FCPX Users, New and Old

I’ve been touting Izzy Hyman’s FCPX tutorials for a few years now as being the best on the web.

They got me from confused to ‘up and running and having fun’ in one day.

I’m just going to pass on an email I just received where Izzy is making a special offer for a few days on his beginning and pro FCPX tutorials and beginning Motion tutorials, plus some other stuff–all for $39.  Mind you, that’s HOURS of tutorials.

I get no kickback from this.

Here’s the email and link:

To celebrate the fact that I’ve officially started creating my
next-level Motion course, I’m launching a giant bundle that only
lasts a few days.

From now until Friday, I’m offering a massive bundle that includes:

* My downloadable basic Final Cut Pro X course ($37 value)
* My Advanced Final Cut Pro course ($49 value)
* My basic Motion course ($49 value)
* My Final Cut Pro X Theme Bundle #1 which includes
  10 themes ($39 value)
* My Final Cut Pro X Theme Bundle #2 which includes
  11 themes ($39 value)

I’ve never offered this bundle before!

You’ll get $213 worth of my products for only $39.

And the bundle only lasts until Friday, June 26th. After that,
these go back to being individual products.

Make sure you don’t miss out. Get the bundle right away.

Click here to get started.

Sony PXW X70 4K Firmware Update Available

Well, it’s here.

This is the link . Sony V2.00 Update

Here are the exact instruction on how to install the update: V2.00 update procedure

There are several reports that, in combination with FCPX’s last update, you can now natively import XAVCL into FCP.

This update does not automatically give you 4K.  There’s another step (purchase) which hasn’t been made very clear at this date, but I’m sure we’ll find out soon. However, if you want to record in XAVCL right now, you can.

18 June 2015

Ok, here’s the latest on the 4K update with a rebate available to the US market.

X70 4K Firmware Update

And here’s the link for obtaining and activating 4K. X70 4K Upgrade Key

And this comment from the FB X70 User Group regarding a rebate for early adopters of the X70:

 The 4K upgrade is here! It’s easy to install and Sony has the loyalty program. The box will have a sticker that tells users to visit a webpage where they get contact info for POSC…. gives you ‘inside’ access and can help you upgrade in 5 – 10 minutes. Sony wants to show their appreciation to early adopters of the PXW-X70 camcorder: End-user purchasers of PXW-X70 who took delivery of their product on or before March 31, 2015 and who purchase a CBKZ-X70FX 4K license key between June 15, 2015 and August 31, 2015 are eligible to receive a $300 mail-in rebate from Sony!

Sony PXW X70–AVCHD vs XAVC-L, Some Sobering Thoughts

4k-Ultra-HD1 Like everyone else I was intrigued by the possibility of shooting 4K when I bought the X70 (4K upgrading coming out in June at a cost).

I say intrigued. It’s not that I really needed to shoot in 4K. When the 4K upgrade does come out, I’ll be interested to know if it has any improving affect on the camera’s native 1080 HD resolution by reason of the software. Otherwise, I’m not very inclined to go that way.

Here are the sobering facts:

1. To shoot in 4K you will have to use the Sony SxS Pro+ cards (not the SxS-1 or SxS Pro cards) and for that you’ll need a reader/writer than can take them. Or, as one commenter said, get and use an Atmos Shogun  4K recorder/monitor or something similar for about £1500/$2200.

2. The 64 GB SxS Pro + card costs over £600 or $900 and will get you 32 minutes of record time (or less by some reports).

3. The 128 GB SxS Pro+ card costs about £800 or about $1200 and will get you an hour of record time (or less).

4. There is now a free plug-in for FCPX that will allow you to import off an SxS card, but the expenses don’t end there…

5. You’ll need high-end graphics cards and a 4K monitor. Your MacBook Pros and iMacs won’t handle the image processing without making you go mad. You’ll need the Mac Pro which was built for 4K. PC users will have similar hardware issues, particularly for graphics cards.

So what about these SDXC cards we all bought? Well, they’re good and they’re fast and you CAN record XAVC-L on them if you want to, but why bother if your output is HD? Is there some small advantage? Apparently there is if you’re into minutiae, but in the scheme of things I don’t think there’s any discernible difference or advantage–except your files will be larger.

Unless you’ve got money to burn, stick with HD. It will be years before the prices on 4K equipment and media become affordable for most, and for that to happen, 4K will have to be all the rage. And that may never happen except in a small niche group of producers.

On the other hand, as another commenter pointed out, if you shoot in 4K for regular HD export, that gives you a host of advantages in post production (image cropping, stabilisation without image size loss, etc). Some blogs are suggesting that clients are requesting 4K shoots for HD export. It gives the option of later re-issuing the same video in 4K.

The question remains for X70 users, will we be able to record 4K at 60mbps on an affordable SDXC card and edit using proxy files? It remains to be seen.

As I said in the original X70 review, if you want a 4K camera, don’t get this one. Get one that’s already ready.

When it is ready, I hope I will have to eat my words–‘cuz I think I’ll want to start shooting in 4K for 1080 HD export.

 

Flexlite–New Review Coming Soon

Flexlite–The Flexible, Dimmable, Versatile LED Light Panel

Just one more thing to get out of the way over the weekend and I’ll start putting together a review of the Flexlite LED panel.

Flexlite

Flexlite–the flexible LED panel

 

Like everything I review, I own it. And I only review it if I really like it. And I only buy it if I really like it anyway.

LED lighting is coming of age in the film and video industry. There are a LOT of good LED lights out there. This one was the only one of it’s type–the rest mainly being encased in aluminium housings of one sort or another.

But for sheer functionality without the weight and bulk, this may be the perfect solution for the run and gunner.

IMG_9649

Innovative holder for use on light stands or even ‘selfie sticks/monopods’ for hand holding

 

You can snap in its holder for regular light stand mounting or even put it at the end of a selfie stick or monopod for hand-holding (say for fluid man-on-the-street interviews).

Or, using the velcro already sewn into its corners, you can velcro it to a surface or even to the inside of one of your existing soft-boxes (which I did). It’s brighter than the brightest spiral flouro lamp.

Dimmed to its lowest setting

Dimmed to it’s lowest setting

 

IMG_9647

Full brightness

 

What I intend to do is some testing to quantify its brightness and colour temperature.

I’ll also show it in use during an actual corporate shoot (nice to be able to sit in the chair with the viewfinder flipped so I can see it and simply dial in the correct exposure).

It’s also apparently quite durable. The fellow at the BVE show in London earlier this year threw it down on the ground while it was lit to answer that question when I asked it–and said he had been doing that all day long.

You can curl them up into a cylinder, wrap with rubber bands and drop into Chinese lanterns for 360˚ illumination.

Pretty clever.

Anyway, hope to get the review up within the week.

 

 

FCPX Grading Tools

 

FCPX and grading

The other take-away from BVE London was an eye-opener for me. The world of color grading.

There’s a London-based outfit called SOHO Editors which is the largest pool of freelance editors throughout the UK and Europe. They also teach classes in London and Manchester in all the disciplines (editing in the major NLEs, Motion, After Effects, Divinci Resolve, etc.).

They had live presentations all day and I watched a few of them relating to FCPX and Divinci Resolve.

It was clear that these guys were top-notch. Teaching is a part-time job. These were industry professionals.

The first thing I noticed was that FCPX was their weapon of choice. Without getting into all of the reasons why, a point was made that was rather telling. FCPX is faster. Period. The speaker said that alone is the major reason why major networks and production companies are moving over. It’s economics. And that is the reason to no longer ignore FCPX. But what I didn’t know (and this was a bunch of geek stuff), FCPX is set up for the future to such a degree that many of the other major NLEs will be forced to majorly upgrade anyway. Changes are coming. FCPX is already there. And this, from a guy who ran the team of editors for the World Cup on FCPX: it is hands-down the best multi-cam editing software out there, bar none.

But I digress.

The hands-down best grading tool out there is Divinci Resolve by Black Magic. That was also made clear.

And the same guys who use FCPX for editing, use Divinci Resolve for Color grading (which works pretty seamlessly with FCPX).

I had NO IDEA all the things that can be done in grading. I was stunned. I mean I was gobsmacked, a quivering mass of jelly on the floor.

Talk about ‘pure frickin’ magic’.

Color and looks aside, you can practically re-light a damn set with Divinci Resolve.

Plus they pointed out that the FREE version of Divinci Resolve has everything the paid version has bar one thing: The De-noise tools. Everything else is there in the free version. And it’s really free. Not a trial. You can download it today right here.

What they were demonstrating was light years beyond anything I’d need to do in corporate videos–or weddings or anything else of that nature. But it was clear to me that I could make anything I produce look way better, no matter how well it was shot to begin with.

I was intrigued.

There’s one problem.  You’re not just going to download it and ‘figure it out’. It will take some basic training. And that, with the SOHO group–who I would implicitly trust to get me up and running in either their one or two day course–is a few hundred dollars for a day or about $1500 for the more intensive two day course. They’ve got a 3 day course in the works.

I spent time time discussing my exact needs and trying to determine if I needed the one or two day course. I was pretty determined to work out a schedule whereby I could go down to London and do it at the earliest opportunity.

Then serendipity struck on Linkedin.

There’s a colorist in the U.S. who has just released a product called ‘Color Finale’. (It runs on FCPX Yosemite only)

There’s no mention, but I’d bet anything he’s a Divinci Resolve user and I think what he’s done is produced a program that has the most crucial tools found in Divinci Resolve. If so, I should be clear: Divinci Resolve is the bees knees and has everything you would ever want as a colorist. But clearly, not all of us need all those tools. Just as clearly, we could all use some of the basic magic available that goes beyond the scope of what we can do in our NLE of choice. And I think that’s what he’s done.

The really good news is that if you buy it by 3 March, you can get it for $79. After that it will be $99.

Furthermore, one of the things that Divinci Resolve has that is mind-blowing is ‘masking and tracking’. In Resolve it’s absolutely magical how easy it works. (say you change the color of a shirt in the background and someone passes in front of it–well, masking and tracking is how you deal with that and you don’t have to be a rocket scientist to do it easily in Resolve). Anyway, that feature will be coming to Color Finale in a ‘pro version’. However, if you buy it now, you are grandfathered in and you will get the future upgrades with no further charges.

So far he’s got a couple of good tutorials on his site with, undoubtedly more to come.

So…a few hundred dollars plus travel and expenses to London for a day…or $79 for a program that does everything I need to make anything I produce look better?

I’m sold.

Here’s the link: Color Finale

 

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