Philip Hodgetts on FCP 7 to X
Although I did a quick tutorial on how to use the software, Philip did a run through and I always think it’s always best to hear about products from the developers themselves. Here it is from LAFCPUG.
Although I did a quick tutorial on how to use the software, Philip did a run through and I always think it’s always best to hear about products from the developers themselves. Here it is from LAFCPUG.
Probably the biggest thing missing in the stock version of Final Cut Pro X is the ability to bring in old projects for revisions or repurposing. Philip Hodgetts at assistedediting.com and his team built an amazing little app that converts your old legacy projects into the current version (10.0.3). While I’m still confused how apple hasn’t purchased this software from them, I’m glad a small shop can leave such a huge impact on our industry. Here is the link.
Take 2 minutes and see how easy it is to move old shows forward with FCPX.
Let’s face it, it’s freakin cold out in the winter. And when it’s cold out, who wants to spend a lot of time shooting outside? Hmmm, not me. If it’s below freezing the only way I’ll be outside is if I have some skis strapped to the bottom of my boots. That is what led me to build a studio in my warm cozy basement. The total cost of building this backdrop stand was about $40 at the Home Depot.
Supplies Needed:
To make full use of 2 cheap 2×4′s, I cut them for the base feet like this. 32″ front to back with 12″ cross legs at the ends. It has a 16″ vertical support and about an 11″ 45 degree cross support making it more rigid. 2 wood screws are drilled into each joint which makes the stand pretty bomber. Slide a 5 foot section of the 1″ conduit into each base. The conduit is held by 2, 1″ wall mounting brackets.
Here you can see why I used a 3/4″ and 1″ diameter conduit. The 1″ sits below and the 3/4″ slides inside it like a sleeve and you can adjust the height as needed. You lock off the height by tightening down the 3/4″ wall bracket and it will act as a stopper.
Finally, the long 10 foot 3/4″ cross bar is connected with what is called a “corner pull” elbow. They are built specifically for this 3/4″ size and tighten down with supplied screws.
The final stand is probably as strong as you can get without shelling several hundred on a pair of C-Stands. It is 10 feet wide and can easily go up to 9 feet tall. I have had toddlers running crazy in my basement with no fear of anything falling. Now, I have no more excuses for not creating awesome visual content and neither do you.
Make something awesome!
I finally got to play with some high frame rate (300 fps) Red Epic footage this past month. With the aid of the Twixtor Plugin for After Effects we created some new snow slang at CP+B for vitaminwater. You can catch them here now or on ESPN throughout the weekend:
Have you ever had a producer tell you to cut a few shots out of your video after you already made the “perfect” mix using clip overlays, keyframes, and rubberbands? Here is an old school technique I use that prevents this frustration. It keeps audio very flexible with the use of through-edits, crossfades, and the roll tool. Check it out and be happy!
Also, if you have other time saving mixing techniques I’d love to hear ‘em.
1/200th sec, f/2, ISO 100, Canon 50 1.4, with wireless flash camera right
I know I’m a tad late on this, but thought what better place to toss out some goals of mine publicly and see how many stick come December 2012. I got to spend the holidays in Plano with my family and meet my brand new niece (above) the day after she was born. She is far cuter than any video or image can resemble.
Now onward with some goals:
Ok. Maybe I’ve been playing too much Modern Warfare 3 lately with the sniper reference. Regardless, I’ve come across several rules of thumb when it comes to shooting kids this past year that I thought might benefit some of you with children.
For me, photographing kids and babies is incredibly rewarding and fun. You get the chance to document a person when they are at such a brief phase in their life. You can’t ever make the same photo twice and every moment gives you new challenges to overcome. Take more pictures of them more often. Most importantly have fun. If you do, they will too.
This one doesn’t require much explanation. Basic rule of thumb when you want your video to look good as H.264 – DON’T USE APPLE’S VERISON IN COMPRESSOR. It sucks big time. Most editors have several other options, but I’ve found the best in my toolkit is Adobe Media Encoder’s version of Main Concept’s H.264.
These are identical data rates of the same frame (approx 1mbps at 1080×1920).
I must admit that I’m a pretty hardcore video technologist. I love video and film perfection. Please take whatever that means with a grain of salt when you read my brief musings on the hot shit that was recently announced from two great camera companies.
If you read my blog, then you probably already know enough of the details and specs of the BIG 2 newsworthy cameras that were just announced – the Canon C300 and the Red Scarlet.
These are amazing, beautiful cinema-style cameras that can create film-like motion pictures. They are priced in the $15-$20k range once you get all of the required kit to make them work for production. One has XYZ and the other has this bell and whistle that the other doesn’t. They make fanboys scream and they confuse old timers that think film is God. One thing is for certain is that you can shoot as long as you want for “only the price of a shiny new car“.
Don’t get my cynicism wrong. I’d gladly accept a donated C300 for my personal production arsenal. I also love to see competition in the marketplace. Capitalism works best when there are people fighting for your hard earned dollar. The problem I see is people’s reaction to these new expensive toys on the market.
I see a lot of people (myself included, “me too”) react to announcements like this one and think – “If only I could or would purchase this camera THEN, I could really make something amazing“. This is a flawed mindset that I fall victim to far too often. Our DP here at the agency, who also moonlights as a shooter for NFL films, told me something that has stuck. It’s just another light tight box!
Basically, the idea is that a camera is a camera – a tool. What I love about the current state of video cameras is that you can just as easily grab a $550 Canon T2/3i off the shelf and tell an incredible story without selling the farm (or going into massive debt which is more likely). Cameras like the C300 and Red Scarlet make news today and that is a fact. What I’d like to see is visual artists, DPs, directors, and editors making the news.
How many current directors can you name? How many camera models or software tools can you name? I think you get my point. The question should be Tarantino vs. Cameron, not 1′s and 0′s with x sensor verses 1′s and 0′s with y sensor.
There is a place for these new fancy toys, but most people and small production companies don’t need them. Getting the right moment, the right light, and the right talent always wins – even if it’s shot with a Flip cam!
Go out and create something amazing with what you have. I say this as much to myself as anyone that’s willing to listen to me. You have the best peice of technology that nobody else can buy – your brain and personal creativity. All it takes is time and effort.
So who wins? Canon C300 or Red Scarlet? I’d pick you or myself over those cameras any day.
Have you ever been out on a shoot and on location not remembering how a camera setting works? For years I have been told and telling people to carry THE CAMERA MANUAL with them whenever they shoot. It will come in handy.
Anyway, you can almost forget that advice with the newest version of Magic Lantern because…
The manual is built into the camera software now! Ingenious! This quick video will show you how to access it for those head scratching moments.
As always you can download the latest version of this miracle software here -